Formed in Hartlepool, County Durham, in 2024, Rumination may be a relatively new name on the rise, but the musicians within the band bring years of experience from across the North East of England’s Death Metal underground.
Evolving from Dawn Of Chaos after the band reunited briefly before ultimately dissolving, Rumination emerged, and the current lineup features Paul Hartburn (vocals), TJ Fallon and Ross Dunn (guitars), Liam Wales (bass, backing vocals) and Joey Rutherford (drums). They are already proving themselves a force to be reckoned with.
Following their self-titled four-track debut EP last year, a two-track promo earlier this year and an independently released cover of Cannibal Corpse’s Disfigured, Rumination now return with Maelstrom Of Epithelium, released through Vile Tapes Records physically on 25 August and on streaming platforms in September.
Rumination unleash devastating technical Death Metal on the Maelstrom Of Epithelium EP
The EP has several guest appearances, and this in itself adds depth. Having caught the band live at their hometown Vulgarfest appearance in July, I had already heard several of these tracks delivered with devastating weight. On record, they hit just as hard.
The title track opens the EP with a short sample of what appears to be a conversation between a couple with distinctly local Hartlepool accents, before the instruments explode into life after around 20 seconds.
From there, the riffs immediately grab your attention, with Hartburn’s insanely deep gutturals sitting over fast, technical passages before the song suddenly slows into dragging slam riffs. The track then accelerates again before closing with intricate guitar work and unrelenting drumming.
At just under three minutes, it is a phenomenal opener and a perfect introduction to Rumination’s sound for those uninitiated.
Shredded Meat, featuring Jon Burr of Omnipresent Hysteria and formerly of Colpocleisis, is next up, and it was previously released as a single in April. This time there is no sample preceding the instrumentation, with the track building before launching straight into chaos.
Both Hartburn and Burr provide deep, unintelligible gutturals over intricate riffing and relentless drumming, and this element of the track makes you want to stomp around with the caveman-like vocals. The technicality reminds you of Defeated Sanity throughout, making this track especially a strong showcase of the band’s technical side.
As readers may know, my favourite genre is brutal Tech Death, and this song is a perfect embodiment of a top track in the genre. At just over three and a half minutes, it is superb.
Track three L.E.D, (what that stands for I will let you look up), featuring Twitch Of The Death Nerve vocalist and guitarist Tom Bradfield, wastes absolutely no time bursting into action. The fast, technical guitar throughout has a Necrophagist-esque quality, while another brief sample adds an effective touch to the brutality.
The vocals shine again once more, and after several listens, this has become my favourite track on the EP. It is a genuine standout across an already excellent release.
The penultimate song, Deathcamp, takes Rumination back to their roots, being a modern recording of a Dawn Of Chaos track originally released in 2009 on the Northern Discomfort split EP with Neuroma.
This track has a real deathgrind character about it, while sounding suitably devastating in an updated form. At several points, it reminds me of early Aborted, particularly the Goremageddon era. Clocking in at three and a quarter minutes of relentless brutality, it drags you through its entirety with barely a moment to catch your breath.
The closing track, Only Hands, maintains the ferocity, combining blistering speed with crushing slams. Rutherford’s drumming particularly shines, with blast beats driving the song forward while the technical guitars and bass lines provide flashes of early Cryptopsy.
Just as the pace seems destined to remain relentless, the track breaks down towards its conclusion and then you get a chance to catch your breath.
What makes Maelstrom Of Epithelium particularly impressive is how much experience and confidence Rumination display despite being formed only two years ago. They have already acquired guest musicians across the EP, their influences are clear, and they have taken those and created something that feels distinctly their own.
Their discography is going from strength to strength. The production deserves praise too. It is raw enough to retain aggression but clear enough for the musicianship to shine. It never feels overworked or polished, and you can tell the effort that has gone into making the EP.
Rumination are truly a hidden gem of the brutal Death Metal scene, and this EP is a serious statement of intent. I have already found myself returning to the EP repeatedly, and fans of brutal and Technical Death Metal should do the same.
Crushing and packed with character, this is a killer release from a band adding another release to their discography, who are only getting started on their upward rise from the underground.
Maelstrom of Epithelium releases on Vile Tapes Records physically on 25 August 2026 and on streaming platforms in September. For more details, visit the band on Bandcamp.
The most overrated bass brands is a difficult topic. It depends greatly on the player’s preferences and efficiency when using the instrument. However, there is no denying that some companies do have running problems.
And said problems can take a toll on the player. We’re going to see some of these issues here. Moreover, this list goes in no particular order.
1. Gibson
This company has made a name for itself when it comes to its guitars. But they also happen to be one of the most overrated bass brands.
One of the most notorious reasons is the lack of variety. Gibson have struggled to reinvent itself in the bass department. Therefore, a lot of its products can’t compete in the modern market. That is ironic when considering that their catalogue has over eighty models in stock.
One of the few exceptions when it comes to Gibson is the Thunderbird. It is usually regarded as the best bass they have made. However, even that one comes with the caveat of the weight. It is one of the heaviest basses out there. Therefore, it can be quite challenging to use for some players.
Some other types of basses, such as the SG Bass, make it difficult to play slap. And from an aesthetic perspective, they are usually not the most visually pleasing instruments.
2. Hofner
This company made itself famous thanks to The Beatles’ Sir Paul McCartney. He has used a Höfner 500/1 during the bulk of his career. This has resulted in a lot of people calling it “The Beatles bass”.
That doesn’t stop it from being one of the most overrated bass brands out there.
One of its biggest problems is the lack of sound variety. A lot of buyers have complained about how complicated it is to get different sounds from this bass. It is often described as “one-note”, which is a significant problem for a lot of musicians.
Then there is the violin shape of the Hofner bass. That can be a problem for a lot of musicians. Some may find them uncomfortable to play with. And since they are so light, they could perhaps lack the weight some musicians need. It is a matter of taste, of course, but a lot of people have had issues with this.
3. Rickenbacker
A great example of reputation coming first. The Rickenbacker has become quite known because of the musicians who have used it. Some of them include Rush’s Geddy Lee, Motorhead’s Lemmy, and Yes’ Chris Squire. Great bassists, great musicians. However, the Rickenbacker is still one of the most overrated bass brands in the market.
The thin body and neck are one of the most obvious problems. It can be quite burdensome for a lot of players.
The sound of these basses tends to be quite light. Depending on the type of music that you play, this can be a problem. It can cause problems when it comes to cutting through the mix.
A Rickenbacker bass usually has a very specific sound. This is hard to describe, but it explains why some professional musicians may use them. It depends greatly on your preferences since these basses lack variety of sounds.
Add to all of this that they are one of the most expensive brands in the market. Thus, it is a combination of factors that make these basses a bit of a risk. They are not bad by any means, but not as good as some people think. The very definition of overrated.
4. Fender
Here’s the thing about Fender basses. They were one of the first mass manufacturers of basses. There is also the fact that they were once the dominant force in the market. Moreover, they were also among the most accessible. It was easy to buy a Fender bass. However, today they are part of the most overrated bass brands because of that.
Why? Because all of that is a thing of the past. These days, they are a good, albeit overrated brand of basses. In many ways, they have become a lot more notorious for their guitars.
A major reason for that is that they have become quite standard. Nothing wrong with that, especially if you are starting out. But if you are a seasoned bassist, you want an instrument that can do more for you. And Fender these days isn’t that.
Moreover, the neck profiles can be quite hit or miss. It depends greatly on the player and you can be stuck with an instrument that doesn’t suit you. That could be a major problem.
Fender is still good. They are simply not as good as some people think.
5. Rogue
This one is a bit complicated. When it comes to overrated bass brands, you have to mention Rogue. And the reason is quite obvious: they are simply not up to the required standard.
A Rogue bass is usually among the cheapest in the market. This can be great for a lot of people. If you want to start out in music, a cheap bass can be helpful if you don’t have a lot of money. The problem is that you are not going to get a lot from this brand.
The knobs tend to be a problem, which can make a setup quite difficult to structure. The P pickup in its models can also be a bit inaudible, depending on the user.
There is also the problem that, as of this writing, they can only be bought online. This is a big problem because it means that you can’t try it prior to buying. Therefore, you are basically going in blind with this purchase.
These basses are not durable. On average, they tend to last about two years. That can also be a problem if you don’t have a replacement lined up. So, it’s a useful starting point, but nothing to write home about.
6. Fodera
Unlike other overrated bass brands, the Fodera is quite good. Great sound, it looks beautiful, and it’s made of great material. It is a very good purchase if you are a musician. There is only one issue and that is the main reason why it’s here: the price.
Fodera basses are expensive. Very expensive. And sure, you are getting a quality product, but it’s not worth the pricing. So, it gets to a point where you are better off going for something else. It doesn’t matter how great it sounds, Fodera basses are far too expensive. They are usually ranging from $2000 to $6000.
It is overrated simply because of the cost. It is a great brand, but far too expensive.
7. Warwick
One of the elements that puts Warwick among the most overrated bass brands is the weight. They are usually very heavy basses. This is something that can be a dealbreaker for a lot of buyers. If you cannot use it properly, you are not going to get the most out of it. This factor makes all the other positive elements irrelevant in that regard.
There are also the fretted Warwick basses. These are quite precise when it comes to sound. This means that a lot of newcomers might struggle to find the sound they are looking for. They are not bad per se, but it is something for more seasoned players. Bear that in mind.
There is also an issue with the early models, which is the battery department. If they have a separate battery compartment, the lid is bound to fall off. This could be quite frustrating if you are not informed about this beforehand.
The clubby necks of the Warwick basses are also a problem. They can make the process of playing a bit more difficult. Therefore, you need to assess that before buying.
All in all, these are still quality products. They are usually among the best basses in the market. But this doesn’t mean they are not overrated to a degree. It also means that you need to be careful when choosing a bass from this brand.
8. Markbass
Regarding overrated bass brands, Markbass is certainly up there. And the reasons could be considered a mix of several that have been mentioned so far.
The tone of the basses can be quite unlikable for a lot of bassists. They are quite difficult to work with in that regard. Therefore, you need to go for a Markbass in case you are looking for a very specific kind of sound. If you want the instrument to play a lot of different stuff, then this is not the best choice for you.
The mids are usually quite aggressive in the setup. This is another factor that can make the experience of using them all the more frustrating. Especially if you are not an experienced bassist. Not a very good choice if you are barely starting out.
There is also the perception among bassists that it sounds lifeless. Not bad per se, but lacking the oomph factor that some basses need. If you are a musician looking for something special, then this might not be a good choice. That is why a lot of people tend to have a problem with this brand.
Moreover, they are usually quite expensive. So, you are getting a decent, albeit lifeless and complicated piece of musical instrument. It is not the best option, and not one suited for a flexible musician. You are better off looking elsewhere.
9. Steinberger
A prime example of how you shouldn’t meet your heroes. The Steinberger basses were usually among the most popular instruments a few decades ago. These days, though, they are among the most overrated bass brands. And for a good reason too.
The neck is one of its biggest weaknesses. It stands too far to the left, making the act of playing those notes a lot harder. This is something that can be a challenge for a novice player.
The sound is nothing to write home about. Its tone is a bit dry, which could be a problem for a lot of new players. It would require a lot of setups, which is not suited for everybody. So, take that into account.
There is also the variable of the materials. A Steinberger bass is made of denser material than the typical wood body. Therefore, this means that they are quite heavy to carry. This has resulted in a lot of players feeling uncomfortable while using it. Whether sitting or standing up, it is a running problem with these basses.
Then you have the fact that the older models tend to be quite expensive. When considering the aforementioned details, they are not worth the hassle. All in all, it is not the best brand out there.
10. Ibanez
One of the kings of the market when it comes to guitars. But also one of the most overrated bass brands out there. And there are a lot of reasons for that.
Perhaps the biggest reason is the preamps. They have been a weak link in their basses in recent decades. Some people have even mentioned that it is their biggest problem. They tend to be very noisy and dark, thus stifling the player’s sound. It is a big issue and one that is a running problem with their basses.
The stock pups and electronics in general tend to be lacking with Ibanez. This is a big problem because it means you are going to need an upgrade. Moreover, the pickups can be quite noisy, which can be a dealbreaker for some. If you are looking for a cleaner sound with the pickups, then an Ibanez might not be for you.
There is also a matter of Ibanez basses not being cut out for professional musicians. If you are a newcomer, they might be good for you. But if you are a seasoned musician, then this could be a problem. As the years went on, other brands found stronger niches for bassists. Ibanez remained a jack of all trades, which is not always the best choice.
Wishy love to have fun. The fuzzy, catchy indie rockers always sound like they’re having the time of their lives, especially on the Nature’s Pill singles “Lovesick” and “All The Rage.” Now, the band is unleashing another ecstatic anthem called “Sensational.”
If you’re unfamiliar with God’s Hate, the gloriously violent chug-mosh heavy hardcore band from California’s San Fernando Valley, the main thing you need to know is that their singer is a big fucking wrestler. In 2014, when God’s Hate released their debut EP Divine Injustice, the man known as Brody King hadn’t yet begun his pro wrestling career. In hardcore circles, though, King was known as one of the most fearsome and reckless moshers out there, and his friend Colin Young, who has about a million other bands, decided that King needed a band of his own. This was a good call. God’s Hate have continued to make guttural riff-stomp mosh music even as King’s wrestling career has taken off, to the point where he’s now a crowd favorite in All Elite Wrestling.
A new press release today describes the Tubs as a “Celtic jangle boyband.” I love that, and I love them. The new Merge signees have been rolling out new album Hard Life this summer, sharing the advance tracks “Who’s Gonna Love You Now?” and “Stoop To Me.” They’ve got a third preview on deck today, an intensely pulsing new wave guitar banger called “Now And Then.”
Singer-songwriter Lisa Bouchelle recalls winning a talent contest at just four years old, dressed as an American flag at a family campground — a moment that showed music could bring people together. She shares how a friendship with Blues Traveler’s John Popper began, when he worried about her driving solo while opening for the band on her first tour. Bouchelle also talks about why it’s good to set a goal that’s just beyond the horizon.
It’s Squirrel Flower Summer. So far the Chicago indie darling has previewed Say A Prayer To The Gods Of Getting Going with “Reelin,” “Not Me,” and “Sick Tooth,” and now she’s sharing a sweeping, sun-drenched shredder called “Cleveland.”
Finnish band Azatoth make their full-length debut with Carnal Lust of Blasphemy, a raw and eerie old-school death metal record. Thick, distorted, and low riffs move beneath Joel “Nuclear Lucifer” Das’ deep growls. Juuso “Godvomit” Hämäläinen’s drumming pushes the songs into faster bursts before they drop back into slower sections. “Flooding Human Remains” moves between both sides of that sound, while “Sulfuric Paths to Agony” spends more time in slower passages. The short “Interlude (Awaiting the Oncoming…)” gives the record a brief break before “Blasphemous Flesh” brings the heaviness back. The shifts in pace give the slower riffs more room when they appear. Azatoth cite Finnish death metal, ’90s American death-grind and bestial black metal among their influences, as well as horror films like Hellraiser and The Thing.
Dysthymia’s second album, The Morning Darkness, deals openly with depression and grief, though hopelessness isn’t the whole story. Vocalist and guitarist Grushenka Ødegård moves between harsh screams and subdued clean singing. Long stretches of tremolo guitar give way at times to acoustic guitar and piano. On “We Can Never Go Back,” depression is something to be faced and fought each day. That idea runs throughout the record, even at its bleakest. “To Choose Life is to Choose Grief” puts it plainly: choosing to keep living also means accepting the pain that comes with it. The longer songs make good use of their length, moving between heavier sections and quieter moments. There is still hope here, found in the choice to keep going.
The sophomore album from Portuguese metal act Cobrafuma can be described in one word: nonstop. With more booze on their tongues than in their debut, Droga Total (which sounds far less cool when this gringo puts it in Google Translate: Total Drug) is a full-speed headbang straight to the hangover. Beer mugs are for cheers and weapons in this motorcycle dive bar of an album, where ferocity makes you wanna stand on tables, dance, and spit. Thrash, heavy metal, hardcore, and rock gang up for a relentless pace, yelled over by a personified handlebar mustache. Strings ought to snap off their guitars at live performances as the vicious strumming and intense d-beats propel intoxicated mayhem.
Throughout their career, Fen has evolved in many different and interesting ways. Starting out with mournful and mysterious atmospheric black metal that echoed Agalloch, they’ve added many progressive ideas to their sound over the years. Elemental Part One: Mourning Earth is their eighth album and might be their most ambitious yet. Complex drum patterns underpin powerful and intricate guitar riffs and basslines. They don’t sacrifice their core either: the album still very much invokes the otherworldly landscapes of their home that have inspired them for the last twenty years. The result is a powerful and deeply moving work of art.
At one point, Rapid were science-fiction chroniclers. The Finnish band last released music in 2022 that depicted Earth as the victim of an alien invasion through anachronistic speed metal seemingly better suited for witchcraft and demons, but they’re swapping the UFOs for necromancy on their upcoming debut LP. Enter the Realm of Fire files down the black metal and death rock that were formerly core pieces of their sound for a smoother and more focused ‘80s metal delivery. To compound this, vocalist Vincent Revenge now performs more like a soothsayer than a hierophant, singing and enunciating clearly. He sounds more comfortable at the gates of hell than he does covering extraterrestrials, which is a poetic way to represent Rapid’s transformation heading into Enter the Realm of Fire.
TX2 – We’re Going To Hell For This… (Self Released)
TX2 are “one of the biggest success stories in alternative music in the past year” following how well their debut album has gone down. It was highly critically acclaimed, had them perform at Download Festival, support Black Veil Brides, Beartooth and Ice Nine Kills and heard on BBC Radio 1.
So to capitalise this they’ve released their new EP, We’re Going To Hell For This which is a five tracker that features some of their most personal material to date, be it singer Evan Thomas’ queerness and religion on Confession, how Evil Is Contagious, on the song of the same name and how we should learn to just give up and not give a crap on Pickup Truck.
A lot of emotions running through this EP which is why at its heart TX2’s music is strongly inspired by 2000’s emo and nu metal, both Confession and Pickup Truck have some heavy Bizkit vibes while I Know What You Did and The Human Disease drip with angst. The one that does change it up though is Evil Is Contagious where Reel Big Fish up the ska quotient.
TX2 have a rocket strapped to them and they’ll be headlining bugger venues before you know it but if you’re not a alt metal/emo/nu metal then We’re Going To Hell For This may not hit the spot. 5/10 Metasoma – Omen (Self Release)
Omen is the new EP from London made up of veteran Polish and English musicians and playing heavy, aggressive modern groove metal.
They’ve supported the likes of Sanctuary, Illusion and Vader and even enlisted Filip Halucha, the engineer behind Behemoth and Vader, to helm opener Downfall. The rest of the EP is produced by Dawid Konrad Rydz, both able to capture the melodic power and metallic force of Metasoma.
Build on personal struggles such as death, toxic relationships, they have formed these songs so they connect with the listener in their own way, creating a catharsis for their own struggles though the radio baiting American metalcore of Downfall, the alt metal of Attic and Shock or the ferocious duo of Omen and Horizon.
Omen is a brief introduction to Metasoma, groove driven metal quintet who hit hard though heavy riffs and huge choruses. 7/10
Rot Box – Death Ride (Self Released)
Rot Box are a NY based three piece thrash metal with members from Tombstoner and Cranial Damage. They play thrash that moves towards the crossover style that’s engrained into the New York scene.
This is raw, fast and furious thrash metal with a streetwise attitude and a snarling delivery that features some satirical/comedic lyricism that Municipal Waste have become best at but Rot Box definitely throw their hat in the ring with tracks such as Trash Mouth Skuzz Bucket, Crankin Hoons and Gas Station Sushi.
Now for crossover thrash there’s a lot of technicality to the playing, both guitars in syncopation for the solo sections while the riffs shift often several times within one song, more impressive when you consider most of these songs don’t go past 3 minutes.
This is blue collar thrash metal where it’s ok that it doesn’t take itself too seriously, jump on this Death Ride with Rot Box. 7/10
Another EP this time from Devilhusk who claim that their mission is to create music that “simply does not exist yet.” I mean that nonsense as there probably aren’t any sounds that haven’t yet to be made and Devilhusk definitely play music that will be familiar to anyone who was around in the early to mid 2000’s.
What were are dealing with a mix of djent, hardcore, dubstep, and D&B, throbbing beats, palm-muted riffs and general intensity that comes through frantic changes of pace. Too frantic in as much that it never clicks the way it should be being too abrasive and trying to throw the kitchen sink at every track.
Is Goretech Intimidator by Devilhusk, music that does not exist? I mean yeah, if you’ve never heard Slipknot. 5/10
Sky Ferreira is an elusive figure, but she has quite a history at the movies. The last time that Ferreira released an actual song, it was 2024, and her track “Leash” appeared on the Babygirl soundtrack. Earlier this year, Ferreira showed up on a different movie soundtrack. She was featured on “Eyes Of The World,” from her former collaborator Charli XCX’s Wuthering Heights album. Shortly afterward, Ferreira accused Charli of recording her old demos without attribution for that LP; Charli’s team claimed that the songs on the album went through a “standard review process.” The latest bit of Sky Ferreira movie news doesn’t have anything to do with her music, though. Instead, she has quietly added another acting credit to her filmography.
