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The name RUTHLESS in itself means “without mercy.” Since the early 1980’s, lead by vocalist Sammy DeJohn, the band has stayed true to its style of metal, from the classic first EP “Metal Without Mercy” (1984) and the debut cult album “Discipline Of Steel” (1986), to the later albums “They Rise” (2015)” and “Evil Within” (2019), they’ve never […]

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ERDVE introduce the emotional architecture of Epigrama “Sludge just doesn’t come heavier than this.” — Everything is Noise Lithuanian experimental metal band ERDVE reveal “Nyra”, the lead single from their upcoming full-length album Epigrama. The track introduces the emotional and conceptual gravity that shapes the record, presenting grief not as a fleeting reaction but as a force that traps […]

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King .

The post King Zebra share video for new single “All I Want Is You” first appeared on Sleaze Roxx.

It Echoes In The Wild, the bizarre and unhinged second album by Vancouver-based black/death metal entity EGREGORE, will be released this Friday through the formidable roster of 20 Buck Spin, who today unveils the entire album for advance streaming. Here we find ourselves, among the Canadian miscreants EGREGORE – uniting members of Mitochondrion, Reversed, Ruinous Power, formerly of […]

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FOR IMMEDIATE RELEASE
HELLSLAUGHT, NECKBREAKER & SLOWREPEAT DOMINATE TRANSCENDING THE MUNDANE ISSUE #61 WITH GLOBAL UNDERGROUND TAKEOVER
Seattle, WA / Santiago, Chile / Tel Aviv, Israel – The underground metal world just got a serious jolt of voltage as three Metal Devastation PR clients— Hellslaught , Neckbreaker , and Slowrepeat —are prominently featured in Transcending the Mundane Issue #61, shining a spotlight on the raw power and diversity of today’s international extreme metal scene.
From the rain-soaked streets of Seattle to the thrash-fueled chaos of Chile and the hazy doom depths of Israel, this issue captures a worldwide movement that refuses to play it safe—and these three bands are leading the charge.


🔥 Hellslaught (Seattle, USA) – Death/Thrash Ascension

Fresh off the release of their debut full-length Violent Iconoclasm via Witches Brew, Hellslaught deliver what they describe as their most vicious and “pure” offering to date. In their interview, the band dives deep into their uncompromising approach to metal, blending esoteric intensity with old-school ferocity.
Drawing inspiration from Slayer’s legendary Reign in Blood and standing shoulder-to-shoulder with underground forces like Sölicitör and Ares Kingdom, Hellslaught embodies “pure metal worship” both on record and on stage. Their philosophy is as unrelenting as their sound—rejecting conformity and embracing a fiercely independent mindset.


⚡ Neckbreaker (Chile) – Thrash Metal Persistence

Chilean thrashers Neckbreaker bring grit, determination, and pure riff-driven aggression to Issue #61, with guitarist Leon Cox detailing the long road behind their debut album Mental Void , released via Witches Brew.
Forged through lineup changes and pandemic-era setbacks, Mental Void stands as a testament to staying the course. Blending Bay Area intensity with Teutonic precision and South American fire, the band channels influences like Exodus, Kreator, and Sepultura into a sound that hits hard and sticks.
Leon’s message is simple and timeless: support the underground, buy physical media, and never compromise. With a major release show set for April 11, 2026 in Santiago, Neckbreaker is ready to tear it up live and keep the thrash spirit alive the way it was meant to be—loud, fast, and real.


🌊 Slowrepeat (Israel) – Stoner Doom Evolution

Representing the heavy, hypnotic end of the spectrum, Slowrepeat step forward with their second album Aqua Haze , released via Electric Desert Records. Frontman Ben Salomon describes the record as a “low-end album at a high-end level”—and that pretty much tells you everything you need to know.
With upgraded gear, a refined lineup, and a deeper sonic identity, Slowrepeat have evolved into a crushing force of stoner doom. The band has already shared stages with acts like Great Machine and is setting sights on expanding into the U.S. and European touring circuits in 2026.
Offstage, Ben keeps it grounded—running a bar and record shop while living by a simple code: play rock ‘n’ roll and love what you do. No fluff, no nonsense.


🌍 A Global Underground United

Issue #61 of Transcending the Mundane highlights more than just three killer bands—it showcases a thriving global network of underground metal built on passion, authenticity, and community. With strong ties to labels like Witches Brew and Electric Desert Records, and a continued emphasis on vinyl, tapes, and CDs, the message is clear: the underground is alive and kicking.
Metal Devastation PR is proud to stand behind these artists as they push boundaries, break rules, and keep the spirit of true metal burning worldwide.


For press inquiries, interviews, or coverage opportunities, contact: zach@metaldevastationradio.com
Read the magazine here: https://transcending-the-mundane.com/archive/

Check out the bands at these links:
https://metaldevastationradio.com/thebeast/blog/28386/neckbreaker-unleashes-debut-album-mental-void-out-december-12-via-witches-brew
https://metaldevastationradio.com/thebeast/blog/28590/slowrepeats-aqua-haze-strikes-29-on-doomcharts-mediterranean-stoner-doom-trio-continues-to-crush-with-cosmic-fuzz
https://metaldevastationradio.com/thebeast/blog/28300/hellslaught-unleash-violent-iconoclasm-a-blistering-black-thrash-onslaught-from-the-depths-of-hell

Out 22nd May via Hammerheart Records Death/Grind outfit Gorerotted have announced the re-issue of their 2000 classic Mutilated In Minutes via Hammerheart Records. The re-issue will be out on 22nd May via the label.  Pre-orders are available HERE. Gorerotted have always thrived on chaos, excess, and a sense of unfiltered fun, but where a band like Pungent Stench often leaned into sleazy groove, Gorerotted pushed further into sheer intensity. Tracks […]

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The band plans to continue touring for now. Continue reading…

Reviewing albums explicitly labelled post-metal always seems to bring out my inner pedant. I know all genre labels are kind of meaningless, but post-metal specifically seems to simply be slapped onto anything with fewer riffs than your average atmo-black record, but a lot more cleans. Nonetheless, you know what it sounds like, in essence. If that essence had form, it could be Unverkalt on their third LP Héréditaire. Born in Greece and now split between Greece and Germany, Unverkalt’s self-styled avant-garde approach to post-metal takes its “heaviest and most heartfelt” form on this album, which also marks their signing with Season of Mist. Unknown to me beforehand, promotional references to Cut of Luna and Sylvaine in particular caught my eye, along with the art. I’m glad I picked it up because Unverkalt have something that approaches brilliance at many times. But in embodying the vague yet recognisable subgenre—and sounding good whilst doing it—Héréditaire fails to go further than the safety of the minimum required.

Ignore the artist touchstones in the promo; Unverkalt has little meaningful in common with them: a female lead vocalist is about where that starts and ends. If anything, the aura reflects more Harakiri for the Sky, Heretoir, or maybe Frayle. Lead vocalist Dimitra Kalavrezou sings with a distinctive, somewhat sweet intonation, and screams with articulate fierceness—impressive considering this is her first record providing harsh vocals. Her voice is joined by that of guitarist Eli Mavrychev and—in a late-album highlight—Sakis Tolis (“I, The Deceit”), often layered and intermingled to lend a chorus-of-many-voices air that can be quite powerful. This sense of solidarity and humanity ties into Héréditaire’s overt emotionality—easily its greatest asset—which revolves around mournful yet uplifting themes that rise from softly resonant notes into the (regrettably blurry) weeping of tremolo and chunky riffs. It’s through the continued swell and fade of each composition that we get to see the greats that Unverkalt is capable of.

Even as songs tend to repeat the same pattern, most manage to draw the listener in. Synths (“Oath ov Prometheus”), vaguely MENA-style saxophone (“Ænæ Lithi”), and sprinklings of piano (“Penumbrian Lament”), and humming strings (“Maladie de l’Esprit”)¹ float in and out, and I only wish they were used more. Harnessing the drama of surging, urgent riffs (“Die Auslöschung,” “Oath ov Prometheus”) and heartfelt group screams and singing (“Death is Forever,” “A Lullaby for the Descent”), the iterated compositions win you over by sheer force. These plainly beautiful melodies and ardent vocal performances are inextricable, each lending the other a level of strength and gravity neither could claim in isolation. Some songs stand head and shoulders above others in this regard: “Die Auslöschung,” “Death is Forever,” “Maladie de l’Esprit,” and in particular, “I, the Deceit,” where Sakis Tolis brings not only his voice but a distinctly Scandinavian melodeath² vibe to a song where he and Dimitria also duet in their shared native tongue. That song and many others are also examples of Unverkalt’s strange, quasi-pop-rock leanings that they incorporate through the use of bobbing, understated clean refrains that slingshot back into something heavier or more atmospheric (“Oath ov Prometheus,” “A Lullaby for the Descent,” “Introjects”). This weirdness sharpens Unverkalt’s style and works surprisingly well.

Héréditaire thus brims with feeling, strong melodies, and potential. Undeniably stirring at its best (“Die Auslöschung,” “I, the Deceit,” “Maladie de l’Esprit”), and with little idiosyncrasies of style giving it distinction, as a whole it feels oddly unrealised. One culprit is the shockingly compressed mix, which robs the guitars of their body and drums of their bite. Given the vocal range on display and the elements of instrumental experimentation (horns, piano, etc), this would sound far better with a roomier production. But it’s primarily the overly repetitive structure of the compositions that causes issues. Though the passion of the singing or screaming, and the force of a good melody cause you to briefly forget, every song follows essentially the same trajectory—or rather, the same sequence of things repeats across the album, sometimes spanning between songs. Whispers or quiet singing, a steady beat and post-rock atmosphere, black-adjacent speed and screaming, and a lapse into a swaying tempo. With nine tracks adding up to around 50 minutes, you start to notice.

I don’t want to rag on Héréditarire too much; it’s a good album. The fervency and melancholia of the vocal performances—from Dimitria especially—and melodies show the passion behind the project, and there’s a thread of individuality that could pull them out of obscurity. But for as expressive, intriguing, and compelling as their music often is, Unverkalt’s reluctance—or inability—to step outside of a template holds them down when they could be soaring.

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Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

The post Unverkalt – Héréditaire Review appeared first on Angry Metal Guy.

German-born, Ireland-based artist DAMIEN CAIN has released a new music video for the song “The White Line,” taken from the album “Standarte” released on December 12th, 2025. Watch the video of “The White Line”: https://tinyurl.com/y3fpt2a8 “The White Line” is a dark melodic metal journey through a surreal battlefield of the soul – where destruction, demons, and burning cities mirror the chaos humanity leaves behind. Told […]

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