Markie J’s REASONS leans into a direct, emotionally driven hip hop approach, balancing introspection with a steady, modern trap backdrop. The production keeps things clean and focused, giving space for the vocals to carry the weight of the track’s message. There’s a sense of urgency in the delivery, as if each line is pushing toward clarity or release, while the hook ties everything together with a memorable, grounded feel. Markie J keeps it honest and unfiltered, avoiding unnecessary layers and letting the core emotion lead. It’s a straightforward but effective track that connects through its sincerity and focus.
Blush. hit with immediate impact on Wrong Answers Only, a grunge-leaning indie rock track that thrives on raw energy and momentum. Buzzing guitars and punchy rhythms drive the song forward with a restless urgency, capturing that loose, almost chaotic spirit of 90s alt rock. There’s a sense of spontaneity throughout, as if the track is constantly on the verge of spilling over, yet it remains tightly held together by sharp songwriting. Blush. balance grit with melody, letting the hooks cut through the distortion.
It’s loud, direct, and electrifying, a track that doesn’t linger but leaves a strong impression.
Remek Kossacz’s Tuesday Take Away brings a playful, groove-led energy that blends jazz sensibility with a subtle funk edge. The track moves with ease, driven by clean guitar lines that feel both relaxed and precise, letting melody and rhythm interact naturally. There’s a lightness to the composition, as if it never tries too hard, instead letting its charm come through in small shifts and details. Remek Kossacz keeps things fluid and engaging, creating a laid-back atmosphere that still carries enough movement to hold attention.
It’s an easygoing instrumental with character, warmth, and a quietly infectious flow.
Gregory Ackerman’s Call Me Crazy unfolds as a slow-burning groove steeped in warmth and vintage soul influence. The track leans into a relaxed, smoky atmosphere, with its rhythm section setting a steady foundation while subtle guitar and keys drift around it. As it builds, the arrival of brass and gospel-tinged group vocals adds a rich, communal energy that lifts the song without breaking its laid-back flow. Gregory Ackerman keeps everything organic and unforced, letting the arrangement breathe and evolve naturally.
It’s a confident, timeless-feeling piece that balances restraint with moments of soulful expansion.
New Jersey death metal stalwarts FUNEBRARUM have announced their long-awaited third full-length album, Beckoning the Void of Eternal Silence, set for release on May 29th via Pulverised Records.
Marking the band’s first new material in seven years, the record sees the revered underground outfit return with their most fully realized and crushing work to date, reaffirming their status as torchbearers of classic, doom-laden death metal steeped in the spirit of the late ’80s and early ’90s.
Commenting on the record the band states:
“We, Funebrarum are stoked to be sharing our third offering, ‘Beckoning the Void of Eternal Silence’ with the world. We are proud of the work overall and the final result. We look forward to desecrating stages worldwide with the new material.”
Formed in 1999, FUNEBRARUM built a devoted following through their acclaimed releases Beneath the Columns of Abandoned Gods and The Sleep of Morbid Dreams, later resurfacing in 2015 with a revitalized lineup and the Exhumation of the Ancient EP. After years of writing across continents and a pandemic-era hiatus, the band now return with Beckoning the Void of Eternal Silence, recorded between Portland, OR and Edison, NJ with engineer Steven Di Acutis, delivering their signature cavernous sound at its most ominous.
Today, the gruesome five-piece unveils the first taste of the record with the single “Anhela Odor Mortuorum (The Adepts),” a suffocating descent into morbid atmosphere, heaving riffs, and sepulchral intensity that signals FUNEBRARUM’s triumphant return.
Adding about the song they say:
“‘Anhela Odor Mortuorum (The Adepts)’ is a track we completed while on tour in Mexico several years ago. The song was written, mostly, by our bassist, Winslow. It is a great track that we enjoy playing live. It outlines the ancient journey of an occultist deep in connection to and in contemplation of, the shadowed mysteries.”
Beckoning The Void of Eternal Silence– Track List:
1. The Arrival (Intro) 2. Beckoning the Void of Eternal Silence 3. Sa Nagba Amāru 4. Through the Barren Halls of Grieving Emptiness 5. Into Dark Domains 6. Ancestral Manor (Intro) 7. Anhela Odor Mortuorum (The Adepts) 8. From Rotting Burial Shrouds 9. Turning the Stones of Torment 10. The Whispering Cathedral 11. Epilogue
About FUNEBRARUM:
Funebrarum is an American death metal band formed in Clifton, New Jersey, in April 1999 by underground veterans, vocalist Daryl Kahan (Citizens Arrest, formerly of Assück and Born Against), guitarist Nick Orlando (Evoken), drummer Dario Derna (Evoken, Infester), and bassist David Wagner (Evoken).
Renowned for their dark, crushing sound blending classic American death metal with late ’80s and early ’90s European influences, the band released their debut full-length, Beneath the Columns of Abandoned Gods, in 2001 via Necroharmonic Productions to widespread underground acclaim.
Lineup changes followed, with Alex Bouks (Immolation) and Shawn Eldridge joining for live activity. Their 2009 sophomore album, The Sleep of Morbid Dreams, released by Cyclone Empire, further cemented Funebrarum’s reputation as masters of old school death metal, leading to successful European tours and festival appearances before another period of reduced activity as members pursued other projects.
The band resurfaced in 2015 when Kahan joined forces with guitarist Samuel Osborne, assembling a new lineup featuring Charles Koryn, Kyle Winslow, and Phil Tougas. This incarnation released the internationally praised Exhumation of the Ancient EP in 2016 and toured Europe with acts such as Interment and Undergang.
Writing continued across North America and Europe, culminating in 2019’s third full-length, Beckoning the Void of Eternal Silence, recorded between Portland, Oregon and Edison, New Jersey with engineer Steven Di Acutis and guest leads from Patrik Fernlund (Gorement).
After a pandemic-era hiatus, the album is scheduled for release in May 2026 via Pulverised Records, preceded by an April split 7” with Pestigore. Funebrarum will mark their return to the stage at Killtown Deathfest in Copenhagen in September 2026, followed by additional European touring.
Norwegian progressive rock outfit Green Carnation launched their ambitious trilogy “A Dark Poem” in 2025 with the release of its first chapter. Following “A Dark Poem Part I: The Shores of Melancholia,” the band now unveils the second installment of this journey, set to arrive this March. Comprised of six tracks, “A Dark Poem Part… Continue Reading →
We’re releasing our ninth studio album Temptation’s Gates on June 26, 2026 via Napalm Records. We’re also introducing our new singer, Swedish-English musician Nicole Willerton.
Our former frontwoman Capri has stepped down due to her busy schedule. We sincerely thank her for over a decade together, including five albums and extensive touring, and wish her all the best.
1-LP Gatefold Vinyl Marbled Translucent Red Black, incl. 12-page 12” Booklet – strictly limited to 100 copies worldwide (Napalm Mailorder exclusive) PRE ORDER NOW FROM HERE:NAPALM RECORDS
Having witnessed Nervosa twice during their opening slot on last year’s Thrash of the Titans tour, I was eager to grab their latest release and delve right into their onslaught of furious riffs. “Slave Machine” is their 6th studio album, and with founding guitarist Prika Amaral firmly in the vocalist seat it comes at you like a missile being launched at your face.
Having chatted with the band in Bristol last year, they are a friendly bunch, but when they flick that switch, they transform into this metal beast that wants to eat you alive. Opening track “Impending Doom” builds ominously, before the dual guitars of Amaral and talented lead Helena Kotina burst into action with terrifyingly brutal riffs. With a guttural roar and immense guitar, we are introduced to the album title track, as they deliver a song that is pure thrash reinvented for a modern audience.
Yet it’s “Ghost Notes” that gets my head moving more than the previous two, as it delivers on so many levels. It’s hard hitting, yet subtle, with Amaral’s growling vocal piercing the soul. There’s a delicate bass interlude from Hel Pyre, before the solo elevates the song further. Things get sharper and more intense across “Beast of Burden” with more impressive guitar work from Kotina. I suppose if you can’t learn anything from watching and touring with one of thrash metal’s greatest, Testament’s Alex Skolnick, then you never will, and her playing shows great improvement.
They have that crunchier thrash sound reverberating throughout “You are Not a Hero” with razor sharp lyrics such as “you are not a hero, and we don’t need one” being on point for the current influencer world we live in. The intro to “Hate” is fun, with pulsating drums at the forefront, before the guitars power through in a most brutal of ways. The riffs are menacing yet controlled so you are focused on the energy firing out of the speakers, whereas the band showcase a more venomous sound across “The New Empire”.
There’s certainly no let up from the quintet, with additional bassist Emmelie Herwagh adding more substance and weight to the music, as you’ll hear on “30 Seconds” and “Crawl for your Pride”, where they deliver social commentary with punchy lyrics such as “No more silence, no more chains, I’ve burned your name in all my flames”. They aren’t afraid of shying away from issues and with more riffs bursting out on this one, it feels like a very polished album that’s full of raw aggression.
On “Learn or Repeat” and “The Call” you can hear the band break into modern groove territory whilst still staying true to their old school thrash roots. Both are savage in their delivery, but show progression in their writing skills, before the fearsome final track “Speak in Fire” which has an ominous aura. With more excellent drums and guitar work, it ignites with another Kotina solo and as the band say in the song, “Still, I stay, begging for more” is exactly how you’ll feel after listening to this album.
