Crown Magnetar Announce Co-Headlining North American Tour with To the Grave
Colorado deathcore heavyweights Crown Magnetar have announced a massive co-headlining North American tour with Australia’s To the Grave, bringing one of the most punishing lineups of the year under the banner The Sawed Off Suffering Tour .
The run will feature direct support from Face Yourself, with rotating appearances from I Declare War, Ameonna (ex-Chelsea Grin), Tracheotomy, Backbiter, and Squelching on select dates. Tickets go on sale Friday at 10AM local time. Get tickets here: https://bnds.us/lv9ika
The tour arrives in support of Crown Magnetar’s recent singles “Impaled Genesis” and “Desecrate Infinite,” which also mark the debut recordings featuring new guitarist Rob Maramonte (formerly of The Zenith Passage and Fallujah). With new material already circulating and momentum building, fans are already speculating that a full-length announcement may not be far behind.
Vocalist Dan Tucker comments:
“We’re beyond excited to announce ‘The Sawed Off Suffering Tour’ alongside our friends in To The Grave. This package represents some of the most punishing bands in heavy music, and we wanted to build something that delivers pure intensity from start to finish. With Face Yourself joining us as direct support and a rotating lineup featuring Backbiter, Tracheotomy, Squelching, I Declare War, and Ameonna, every night is going to be an absolute assault. If you’re looking for a tour built around relentless brutality, and the heaviest bands in the scene, ‘The Sawed Off Suffering Tour’ is exactly that.”
The routing spans the United States and Canada from mid-September through mid-October, hitting major markets including Chicago, Toronto, New York, Los Angeles, Seattle, and Denver. Each night will feature different support combinations, ensuring no two shows feel the same.
The Sawed Off Suffering Tour – Crown Magnetar / To the Grave Co-Headliner
With Face Yourself and rotating support: I Declare War, Ameonna, Tracheotomy, Backbiter, Squelching
Sept. 17, 2026 – Chicago, IL @ Subterranean Sept. 18, 2026 – Detroit, MI @ Catacombs at The Sanctuary Sept. 19, 2026 – Cleveland, OH @ Mahall’s Sept. 20, 2026 – Pittsburgh, PA @ Preserving Underground Sept. 22, 2026 – Toronto, ON @ Lee’s Palace Sept. 23, 2026 – Montreal, QC @ Foufounes Électriques Sept. 24, 2026 – Hartford, CT @ Webster Underground Sept. 25, 2026 – Brooklyn, NY @ The Meadows Sept. 26, 2026 – Harrisburg, PA @ Capital City Music Hall Sept. 27, 2026 – Worcester, MA @ The Palladium Sept. 28, 2026 – Baltimore, MD @ Metro Gallery Sept. 30, 2026 – Asheville, NC @ Revival Oct. 1, 2026 – Nashville, TN @ The End Oct. 2, 2026 – Atlanta, GA @ The Masquerade (Purgatory) Oct. 3, 2026 – Jacksonville, FL @ The Albatross Oct. 4, 2026 – West Palm Beach, FL @ The Banyan Live Oct. 6, 2026 – Dallas, TX @ Club Dada Oct. 7, 2026 – Austin, TX @ Come and Take It Live Oct. 9, 2026 – Mesa, AZ @ Rosetta Room Oct. 10, 2026 – Los Angeles, CA @ Echoplex Oct. 11, 2026 – Roseville, CA @ Goldfield Trading Post Oct. 13, 2026 – Portland, OR @ The Hawthorne Theatre Oct. 14, 2026 – Seattle, WA @ El Corazon Oct. 16, 2026 – Salt Lake City, UT @ Soundwell Oct. 17, 2026 – Denver, CO @ HQ
Beyond the North American run, Crown Magnetar will head straight into Europe to join tech-death titans Archspire as direct support on the European Vacation Tour , alongside The Zenith Passage and Analepsy. The move underscores just how fast the band’s profile continues to rise on both sides of the Atlantic.
The European trek kicks off October 23 in Köln, Germany, and runs through November 21 in Helsinki, Finland, hitting major cities across the UK and Europe including London, Paris, Berlin, Madrid, Milan, Copenhagen, and more.
With back-to-back touring cycles, a stacked lineup, and new material already in circulation, Crown Magnetar are clearly entering a new era of momentum. And if The Sawed Off Suffering Tour name is any indication, they’re not planning on slowing down anytime soon.
Photo credit: Dylan Gould
Originally forming in Helsinki, Finland in 2018, metal act Frozen Factory has just released their latest single "Call Off The Firing Squad".
The track begins with atmospheric clean guitar that builds a prog-esque sound as groovy drums and gentle singing create a soft and melodic sound. The song slowly builds into electric guitar leads and more energetic vocals in its chorus, taking on a soft rock vibe, while distant heavy metal guitar leads can be heard. After the second chorus, soaring vocals and hard-hitting guitar create a deeply catchy but dynamic sound, and the song fades into a bridge as piano and distant screams and gunfire can be heard, building a dramatic but ambient soundscape. Singing slowly builds in energy as theatrical guitar chugs soon launch back into the track's final chorus.
With "Call Off The Firing Squad" Frozen Factory showcases a really unique sound that blends classic metal guitar, the dynamics of soft rock, progressive metal's atmospheric sounds, and even some classical piano elements. Overall, I think this is a catchy song that stands out with a sound that balances a gentle sound while still showing some alternative music edge.
You can stream "Call Off The Firing Squad" on all platforms now.
Sari Schorr has signed a recording agreement with Artone Label Group / Provogue. For years, Schorr has been building a global career on the road, first as back-up singer, and later as a bona fide headliner. This year alone, she will stage a hundred performances across The U.K. and Europe. Her debut on Artone Label […]
With just eight weeks to go til you can finally scream, “BLOODSTOCK we’re home!” there’s an ever constant stream of news to share.
Have you been following the first batch of the METAL 2 THE MASSES finals? Cue much excitement and a drum roll please, for the first group of winners landing slots on the Stowford Press New Blood Stage can now be revealed!
On Friday, bear witness to East Anglian aggressors REGICIDE, offering a blend of thrash/groove metal with hardcore elements, Belfast death/thrash champions MICROTONAL, modern melo-death crew ATARKA who won the Birmingham round, and explosive hardcore five-piece BAILED OUT from Leeds.
Saturday welcomes Sheffield metalcore victors DESCENDANCY and cathartic Northants noiseniks DEAD BAIT.
Sunday adds diverse Scottish top dogs CHEKHOV’S GUN (whose striking sound is matched by a visceral live show, fronted by a flamboyant Lithuanian ballroom dancer!), Manchester’s prog metal quintet TECHNOLOGIST, doom-inspired SUNK who came first for the South Coast region, collaborative Cyprus conquerors JOAKEM, and formidable death metal unifiers KA’APER, comprised of both Russian and Ukrainian musicians.
BLOODSTOCKers, unfortunately we also have to share that OF MICE & MEN have cancelled performing, sending this note: “Due to circumstances beyond our control we sadly won’t be able to make it out to Europe this summer as planned. Thanks to all the fans, festivals & promoters we were looking forward to playing for.” BLOODSTOCK wishes the band well.
While we know that is disappointing news, BLOODSTOCK has lined up excellent death metal squad SANGUISUGABOGG to step into their shoes. The band declare, “Hey mate! Seems like your favorite death dealing degenerates just hocked up their hairball of a logo all over your Bloodstock flyer! We can’t wait to be in England to melt faces and rock out at Bloodstock, so pack up your broomsticks and your toast and beans and let’s party together – we couldn’t be anymore psyched!” You can catch them as direct support to LEPROUS on Saturday on the Sophie Lancaster stage. Rumours you can win a prize for correctly spelling their name in a BLOODSTOCK Spelling Bee are unfounded.
We’ve been following the career of Bristol based noisemakers Urzah since their inception in early 2020, battling through a pandemic, they released two EP’s which honed them as a studio acts before they even got on a stage together. On stage they’re a primeval force of heaviness, progressive sludge that dwells at the fringes of both, drawing in hardcore, post metal, punk, classic metal and more like a sonic black hole.
They finally released their debut album The Scorching Gaze on APF records in 2024 and this was the first ‘proper’ chapter of their story, the self-actualisation that Urzah could become the next mega force in this genre the same way as bands such as Urne and DVNE have exploded in recent years.
Sharing similar influences such as Neurosis, Mastodon and any band that blends sludge with more atmospheric and progressive tones, their debut album was rumination on the human experience, the cycles of life death and more. It took them to bigger stages and higher profile shows, with the momentum not slowing even in the face of replacing their bassist.
Dan Bradley took up the low end in November 2024 and they decamped to Josh Gallop’s Stage 2 Studios in Bath again to record the follow up to The Scorching Gaze, as Josh has very solid, sonic acumen for music of this style.
That follow up is A Tranquil Void, another conceptually and philosophically driven record that joins its predecessor and a thematic diptych, the debut burning red with fire and rage while this one a calmer, reflective blue where the aftermath is examined, so keeping the same producer is a must if both albums are two sides of sonic coin. Though you shouldn’t expect Urzah to have mellowed, there’s little in the way of happy-clappy realisation, flashes of introspection and ambience yes but Urzah are still a band who reach catharsis and closure through heavy riffs, they’re still a progressive sludge band.
However with A Tranquil Void they broaden their sonic display through folk influences, broader spatial exploration, wider complexity in the songwriting and collaborations with guest vocalists of the Bristol music scene including, Dave Cook (Empire Of Dust), Chris Wilson (Row of Ashes) and Victoria Bourne (The Spark’s Desire), reinforcing their place and their pride as prominent members of the Bristol/South West scene.
Beginning with the insistent an ominous At The Mouth Of The Cave, they immediately break new ground as acoustics fluidly play the melodies over concrete stabs of heaviness, as if approaching a terrifying new phase of living. It does a lot to build up the dissonance and rage, which is unleashed on second track The Call Beneath. A tech metal showpiece that, really gets the record started in the way you’d want from Urzah. It’s a track about overcoming grief, it does so with gifted guitar interplay between Ed Fairman and Tom McElveen, set against and industrial dirge, and it’s a song which starts and stops like a mechanism for rage. Their vocals are just as intertwined as their guitar playing is, sharing riffs, melodies and leads, the density is just as potent as the complexity.
From here the pace increases on Infernal Star I, those Mastodon influences that are mentioned, are here if you’ve been looking for them. Though they are more pronounced on Infernal Star II, which continues this two part sludge suite by dialling up the heaviness, driven by the impressive drum work of James Brown and the guttural bass of Dan Bradley, as the last moments erupting into solo section, which will see many air guitar heroes following along. This is the fantastic sound of Urzah at its most refined.
Four tracks through and you can hear that Urzah are reaching for something much more intense and emotionally expressive than on their debut. It’s on the last four tracks though where the band push the experimental personality of their work.
Side B begins with the woozy tribal beat of Bark & Branches, folksy and meditative, you may think it’s Heilung, but as In The Mouth Of The Wolf hits, this short rest bite is destroyed by more fierce technical aggression, again the guitar playing features plenty of thunderous brutality, the riffs contradicting and conjoining as it shifts towards the longest solo section on the record, taking the track and the band into classic heavy metal anthemia. Beneath all of these movements the rhythm section stays thick and crushing.
Getting heavier and louder as we move into another massive sludge beating on Hunter In The Veil. It’s here that the Neurosis sound comparison hits home, deafening drones of guitar and cello from Luke Clemenger, anchored around the, off time drumming, sprawling lead bass and raging vocal.
A Tranquil Void is an opus, no mistake about that, any notion of a “difficult second album” blown away in the first half of the record, while on side two they settle into a new soundscapes, framing themselves as not just a riff heavy beast but a band who can play with nuance and intelligence.
A Tranquil Void culminates in the 11 minute closer; Entwined, Twisted Roots Of Chaos, beginning with a dissonant slow burn and ghostly female vocals, it’s a track that builds, as if signalling the final chapter of this dual album journey, the constant increase of volume, emotion and atmosphere, never fully bursts like you may want it too, but it does just enough to give the felling of acceptance and appeasement that this album is trying to epitomize.
It just caps off what is an incredible album number two from Urzah. The Scorching Gaze lit the fire, but A Tranquil Void has turned Urzah into an inferno of creative brilliance. You need this album! 10/10
The undisputed pioneering architects of modern American deathcore have just dropped a absolute nuclear warhead onto the extreme music calendar. Celebrating two decades of uncompromising sonic violence, Knoxville, Tennessee powerhouse Whitechapel has officially announced their massive “20th Anniversary” North American headlining tour. Produced by entertainment titan Live Nation, this landmark autumn trek will not only stand as the single largest headline run of the band’s historic career, but it will also feature a devastating triple-threat package of special guests including Chelsea Grin, The Acacia Strain, and rising extreme force Netherwalker.
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Want the direct, real-time insider reporting on the heaviest tour packages, ticket presale codes, and underground music charts shaping the global metal scene? Turn up the Loaded Radio Daily Podcast on your preferred streaming network to catch our comprehensive breakdown of this historic tour announcement, or stream 24/7 commercial-free metal directly via our digital player below.
Defying the Odds: 20 Years of Deathcore Dominance
When Whitechapel originally coalesced in Knoxville back in 2006, the fusion of brutal death metal technicality and hardcore breakdown velocity was largely viewed by mainstream critics as a passing underground fad. Instead, the band helped reshape the face of heavy independent music, building a bulletproof legacy anchored by frontman Phil Bozeman’s legendary, throat-shredding vocal delivery.
Reflecting on the monumental milestone, founding rhythm guitarist Alex Wade expressed immense pride in the band’s endurance and the massive scale of the upcoming production: “We are excited to announce our 20th Anniversary Tour taking place this Fall,” Wade shared in an official press dispatch. “We would have never believed we would have made it 20 years after we started this band in 2006, but here we are celebrating it, and we are proud that we are undertaking our largest headline tour to date to commemorate that. Joining us will be our friends who need no introduction, Chelsea Grin and The Acacia Strain, along with deathcore up-and-comers, Netherwalker. We will be playing songs from our entire discography, no albums left out, so if you want to see us play our longest set in the biggest venues we’ve ever played, get your tickets now and don’t miss out!”
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Re-Engineering the Setlist: A Career-Spanning Retrospective
To satisfy multiple generations of extreme music fans, Whitechapel is throwing out their standard tour playbook. The upcoming production will feature an exhaustive, career-spanning setlist designed to touch upon every single era of their discography—ranging from the raw, historic brutality of 2007’s The Somatic Defilement and 2008’s This Is Exile to the polished, chart-topping progressive mastery of their recent offerings.
The tour comes hot on the heels of their highly acclaimed latest studio masterpiece, Hymns In Dissonance, which dropped via Metal Blade Records. The record successfully reinvented the band’s sonic fingerprint, going darker and more unrelenting than anything they had tracked in over a decade. Upon its debut, the record conquered the music charts, securing the #2 spot on Billboard’s Current Hard Rock Albums chart, #3 on the Independent Label chart, and #4 on the Current Rock Albums chart.
Because this tour hits the largest premium venues the band has ever commanded, demand is expected to trigger immediate venue sellouts. Limited artist presale tickets and premium VIP packages will officially go live via Sound Rink today, Tuesday, June 9th at 2:00 PM local venue time at this location.
The elite tier VIP upgrades will offer fans an immersive experience, structurally containing:
One General Admission event ticket
An official post-show Meet & Greet + professional group photograph with the band
Priority early entry into the venue and early access to the tour merchandise booths
Exclusive VIP-only physical merchandise items, including a custom collectible Whitechapel foam hand, a signed commemorative tour poster, and an official VIP laminate with an autographed lanyard.
Following the specialized presale windows running throughout the week, the general public on-sale will officially launch on Friday, June 12th at 10:00 AM local time.
11/14/2026 – North Myrtle Beach, SC @ House Of Blues
11/16/2026 – Charlotte, NC @ The Fillmore Charlotte
11/17/2026 – McKees Rocks, PA @ Roxian Theatre
11/19/2026 – Baltimore, MD @ Nevermore Hall
11/20/2026 – Sayreville, NJ @ Starland Ballroom
11/21/2026 – Worcester, MA @ The Palladium
11/22/2026 – Montreal, QC @ MTELUS (Featuring Carcosa; No Netherwalker)
11/24/2026 – Toronto, ON @ HISTORY (Featuring Carcosa; No Netherwalker)
11/25/2026 – Royal Oak, MI @ Royal Oak Music Theatre
11/28/2026 – Chicago, IL @ Riviera Theatre
11/29/2026 – Minneapolis, MN @ The Fillmore
12/01/2026 – Denver, CO @ Ogden Theatre
12/03/2026 – Salt Lake City, UT @ The Union Event Center
12/04/2026 – Boise, ID @ Treefort Music Hall
12/05/2026 – Seattle, WA @ Showbox SoDo
12/07/2026 – Sacramento, CA @ Channel 24
12/08/2026 – Anaheim, CA @ House Of Blues
12/09/2026 – Phoenix, AZ @ The Van Buren
12/11/2026 – San Antonio, TX @ The Aztec Theatre
12/12/2026 – Oklahoma City, OK @ Diamond Ballroom
12/13/2026 – Houston, TX @ House Of Blues
12/14/2026 – Dallas, TX @ House Of Blues
12/16/2026 – Cincinnati, OH @ The Andrew J. Brady Music Center
12/18/2026 – Pelham, TN @ The Caverns (Special Hometown Finale)
FAQ: Whitechapel’s 20th Anniversary Tour
What band members are in the current Whitechapel line-up?
The touring and studio line-up remains an iron-clad unit consisting of Phil Bozeman (vocals), Ben Savage (lead guitar), Alex Wade (rhythm guitar), Zach Householder (guitar), Gabe Crisp (bass), and Brandon Zackey (drums).
Will Whitechapel play their older, heavier material on this tour?
Yes. Rhythm guitarist Alex Wade explicitly verified that the band will be executing their longest live setlist to date, drawing tracks from their entire discography with “no albums left out.”
Why are Netherwalker not appearing on the Canadian tour dates?
Due to international border routing logistics, up-and-comers Netherwalker will step off for the Montreal and Toronto performances, with Canadian deathcore force Carcosa stepping into the support slot.
Emerging from the underground metal scene of Knoxville, Tennessee in 2006, Whitechapel—named after the infamous London district where Jack the Ripper operated—became fundamental pioneers in cementing deathcore into the global cultural lexicon. While early landmark records established their technical three-guitar assault and hyper-bludgeoning rhythmic breakdowns, it was their willingness to structurally evolve that ensured their long-term survival.
By introducing progressive soundscapes, conceptual storytelling, and clean vocal melodies on later masterworks like 2019’s The Valley and 2021’s Kin, Whitechapel bypassed the structural limitations that caused many of their mid-2000s peers to disband. Entering their 20th year with a top-tier lineup and their largest commercial tour routing to date, they stand as undisputed icons of modern extreme American music.
Now that the blueprint for the largest deathcore tour of the year has officially been unveiled, the floor belongs to the Loaded Radio family. Are you pulling the trigger on VIP packages to catch “This Is Exile” tracks inside premium Live Nation rooms, or are you waiting out the general sale to storm the pit? Let us know your regional routing plans and dream setlist choices in the comments section below!
TL;DR Cheat Sheet
Two Decades of Carnage: Knoxville deathcore heavyweights Whitechapel are celebrating their 20th anniversary with their largest North American headlining tour in band history.
An Absolute Blueprint Lineup: The Live Nation-produced trek features heavy genre pioneers Chelsea Grin and The Acacia Strain, with up-and-comers Netherwalker providing opening support.
No Albums Left Out: Guitarist Alex Wade confirmed the band will be performing a career-spanning, historically long setlist with tracking pulled from all ten studio albums.
Ticketing Timeline: Artist presale and VIP packages go live via Sound Rink today, Tuesday, June 9th at 2:00 PM local time, with general public sales launching Friday, June 12th at 10:00 AM local time.
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Meet Elanor Moss, an evocative London-based singer-songwriter who signed to Merge last year. After a few years of exquisite songs and EPs, she’s announcing her debut album The Knife, The Needle. The new single “Sarah Waiting In The Car” is here today.
Watch/stream IF THESE TREES COULD TALK’s “Sea Of Glass” HERE
Photo by Sondra Kelly
“Sea Of Glass” is the latest single from instrumental post-rock collective IF THESE TREES COULD TALK. At once dreamy and powerful, the band’s newest hymn comes by way of the band’s forthcoming full-length, The Hidden Hand, set for release on July 10th through Metal Blade Records.
Comments drummer Zack Kelly, “‘Sea Of Glass’ offers a smooth optimistic post-rock landscape guided by uplifting clean guitars and heavy chorus hooks which pay off with a haunting and explosive resolution.”
Watch IF THESE TREES COULD TALK‘s “Sea Of Glass” video HERE.
Watch the band’s previously released video for “Blurry Creatures” HERE.
The Akron, Ohio-based outfit has been praised by Metal Hammer for their, “uplifting post-rock that layers cascading guitars over tight drums with a deep emotional resonance,” while the lineup’s Metal Blade debut (and third LP overall), 2016′s The Bones Of A Dying World, was called “a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes.”
This year’s The Hidden Hand boasts nine stellar and plainly provocative songs. IF THESE TREES COULD TALK focuses on capturing sonic power, utilizing the three guitars to cover different areas of the spectrum.
“Most parts usually start with a loop pedal and delay, from there a natural bass line will reveal itself and we can build from there after lots of trial and error,” explains Zack, who co-founded the band with drummer-brother Cody Kelly in 2005. “Drums patterns can also help play against the loop and create a movement or flow to help build the counts and changes. The IF THESE TREES COULD TALK experience feels like a slow, wordless conversation between the inner and outer world best consumed like the score to a cinematic picture or a space for meditation, healing, and clarity.”
The Hidden Hand will be released on CD and digital formats as well as vinyl in the following color variants:
I do enjoy technical death metal; I recall when Goreworm release their debut album six years ago though I never got round to it, though with their upcoming sophomore release, Miasmic Solitude, I’ll be able to form my opinion at last on the band. Formed in 2017 out of Ontario, Canada, Goreworm’s first release came with their 2018 EP, The Path To Oblivion, soon succeeded by that aforementioned debut 202 album titled Prodigy Of The Grotesque, the recipient of much acclaim internationally. Now picked up by Transcending Obscurity Records and penned in for a June 12th release date, Miasmic Solitude sports a striking cover from none other than Leanna TenEycke and shall be the band’s first studio release in five years; their last work being their 2021 EP Plague Of Shadows.interestingly this rendition of Goreworm now features newcomers Kyle Sharp on drums, as well as bassist/vocalist Spinny Guilbault. I was curious. Goreworm have changed half their lineup after their last full length so I wanted to get stuck in to see what this new dichotomy sounded like on record.
Setting the stage early Goreworm plunge us into a world of blast beats and sharpened vocals with riffs as enormous as they are malleable; the guitar work hardly sits still for a second before changing up, there’s no way to predict where the band will be in the next ten seconds. It’s evident the band are adept with speed for most of their songwriting sees them perform with breakneck tempo, but then there are sequences where the aesthetic changes on a whim, where the pace suddenly ceases and angelic vocals rise from the background. The band are forever playing with your expectations, ensuring no track is penned down.
The amount of material they inject into any given song is staggering. Throughout a four minute piece they’ll throw enough at you to satisfy several longer pieces by another band and it’s not like they signal these momentous developments specially, Goreworm alter the direction of their tracks at will and whether or not you can keep up isn’t their prerogative. There could be this intricate neoclassical styled riff occurring, you’ll be in their throes, and Goreworm will caution to the wind by employing huge bass drum onslaughts and riffs the scope of mountain ranges. If nothing else your money and time is rewarded with Miasmic Solitude; plunging headfirst will find your entire body pulled in owing to its astonishing depth.
I liked how it has the technical edge without needing to slam it in our faces. There’s no instance where the band slow themselves or prepare sections where you need to pay attention or where the band believe attention needs directing towards. Goreworm are going to play and if you miss something? Well, that’s remedied on another listen; what matters is what do you feel during that first experience? The technicality inherent is towards the overall songwriting as opposed to instrumental affinity, where the band have deigned to make each track as fascinating and enamouring as possible, all without losing touch of the ground beneath them. One can only imagine the planning and written technicality to actually perform this record in the studio, owing to how many components are in active use at any time.
But we mustn’t think this some condensed, slab of tech death that’s hard to follow, on the contrary Miasmic Solitude is surprisingly intelligible, sporting a wonderfully clean production with little to no dirt at times. A lot of tech death follows this approach as bands want audiences to notice their performance, but it feels so apparent regarding Goreworm since the technicality is within the songwriting. That ease of conveying their sound towards their audience allows the band to instil confidence in fans, a confidence they can return again and again and receive the same level of quality, if not more owing to the smaller niceties not picked up first time round. Goreworm can hurl vast surges of energy your way without it becoming some formless mass; you’ll always have an understanding what part is playing and how it’s contributing to the wider picture. The record manages to feel relentless and biting whilst possessing a strongly polished aesthetic with hardly a bump on the road.
In conclusion, I think Miasmic Solitude is a fantastically written technical death metal album that showcases exemplary ways of incorporating technicality into extreme metal without shoving it in fans’ faces. I think this is the approach that works best as honing in on instrumental affinity will only get you so far but writing interesting songs, that pull us in and don’t let go, that’s what will keep fans invested. There’s so much going on and so many moving pieces at a single moment and yet Goreworm never lose sight of what matters to themselves nor us. At just over forty minutes Miasmic Solitude doesn’t overstay its welcome but every single minute is justified in its longevity with material that swells each song to bursting point; there are enough ideas within to fill three albums by other bands. Miasmic Solitude has helped raise Goreworm firmly to my attention and when a new release comes, I’ll be there first in line.
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