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DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

---

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

The post No/Más – No Peace Review appeared first on Angry Metal Guy.

What Is The Best Sleep Token Album?

Take Me Back To Eden (2023) is widely considered the best Sleep Token album, combining massive viral momentum, genre-blending songwriting, and the band’s most ambitious production to date.

TL;DR

• Sleep Token currently has four studio albums
• Take Me Back To Eden remains the band’s defining breakout record
• Even In Arcadia (2025) shows the band evolving beyond the hype
• Sundowning (2019) introduced the mythology and sonic identity
• The band’s discography charts one of the most fascinating rises in modern metal

For anyone who has watched Sleep Token evolve from a mysterious underground act into one of the most talked-about bands in modern heavy music, ranking their albums isn’t just about picking favorites. It’s about tracing the evolution of one of the most unusual success stories metal has seen in years.

Over time, the band has quietly built a discography that blends atmospheric metal, alternative textures, R&B influence, and cinematic songwriting in ways that still feel unlike anything else in the scene.

With four albums now in the catalog, the Sleep Token story has become a fascinating arc of growth.

And one record in particular clearly stands above the rest.

Loaded Radio Recommends – Sleep Token Members DECODED: 13 Facts That Finally Explain Vessel, The Cult, and The Real Story

4. Sundowning (2019)

Every band has to start somewhere, and Sundowning was where the Sleep Token ritual truly began.

The album introduced the mysterious identity of Vessel, the masked aesthetic, and the band’s unique blend of atmospheric metal, electronic elements, and haunting melodies. Tracks like “The Offering,” “Higher,” and “Dark Signs” gave early listeners a glimpse of the strange sonic world Sleep Token was building.

But while the record remains beloved by longtime fans, it also feels like the band was still discovering just how far they could push their sound.

In many ways, Sundowning was the blueprint.

Everything that followed simply expanded the vision.

3. This Place Will Become Your Tomb (2021)

Sleep Token’s second album pushed deeper into darker territory.

This Place Will Become Your Tomb refined the band’s sound while leaning even further into emotional intensity and genre fluidity. Songs like “Alkaline,” “Hypnosis,” and “The Love You Want” demonstrated a band that was rapidly gaining confidence in its ability to blend softness and brutality in the same moment.

The record also helped push the band further into the broader metal conversation.

For many listeners, this was the album where the band began to feel less like a mysterious cult act and more like a genuine force within the modern metal landscape.

2. Even In Arcadia (2025)

By the time Even In Arcadia arrived, Sleep Token was already one of the most talked-about bands in heavy music.

The album builds on the enormous sonic scale introduced on Take Me Back To Eden while continuing to push the band toward an even more cinematic sound. It’s a confident record from a band that clearly understands its identity.

While newer releases often take time to settle into a band’s legacy, Even In Arcadia feels like a statement that Sleep Token’s rise wasn’t a fluke.

They’re still evolving.

And they’re still expanding the boundaries of what their sound can be.

1. Take Me Back To Eden (2023)

For many fans, this is where everything changed.

Take Me Back To Eden was the album that launched Sleep Token from cult favorite into a global metal phenomenon.

Songs like “The Summoning” exploded across streaming platforms and social media, introducing the band to a massive new audience almost overnight. But beyond the viral attention, the record also showcased the band at the peak of their songwriting ambition.

It’s an album that moves effortlessly between crushing heaviness, lush atmosphere, and deeply emotional melodies.

More importantly, it feels like the moment where every piece of the Sleep Token puzzle finally clicked.

If someone asked where to start with the band, this is almost always the answer.

Browse upcoming heavy metal concerts and ticket availability here

Why Sleep Token’s Discography Feels Different

Part of what makes ranking these albums so interesting is that Sleep Token doesn’t really follow the traditional metal formula.

The band moves freely between genres, emotional tones, and sonic textures, often within the same song.

That willingness to experiment is exactly what has helped the group connect with a younger generation of listeners who grew up on playlists rather than strict genre boundaries.

And it’s also why the band’s rise has felt so unpredictable.

If you’re already exploring the band’s mythology, it’s also worth checking out our deeper breakdown of Sleep Token lore and the identities behind the band’s members — two topics that have become massive curiosity searches among fans.

As the band continues to evolve, the real question isn’t just which album is the best.

It’s what Sleep Token might do next.

Loaded Radio Recommends – Who Are The Members Of Sleep Token? What We Actually Know (And What We Don’t)

FAQ

How many albums does Sleep Token have?
Sleep Token currently has four studio albums: Sundowning (2019), This Place Will Become Your Tomb (2021), Take Me Back To Eden (2023), and Even In Arcadia (2025).

What is the best Sleep Token album?
Most fans consider Take Me Back To Eden to be the band’s best album due to its massive impact and genre-defying songwriting.

What album made Sleep Token popular?
Take Me Back To Eden significantly boosted Sleep Token’s popularity, especially after songs like “The Summoning” went viral online.

Band Bio

Sleep Token emerged in 2016 as one of the most mysterious bands in modern heavy music. Led by the masked vocalist known as Vessel, the group blends elements of alternative metal, progressive music, R&B textures, and cinematic production into a sound that defies easy classification. Over the past decade, the group has grown from a cult underground act into one of the most talked-about bands in contemporary metal.

The post Every Sleep Token Album Ranked Worst To Best (One Clearly Stands Above The Rest) appeared first on Loaded Radio.

For more than a decade, the great underground rap veterans Aesop Rock and Homeboy Sandman have been getting together for a series of EPs called Lice. Those guys bring out the absolute best in each other. When they get together, they always sound like they’re having fun without compromising the hyper-referential density of their styles.…

The post Aesop Rock & Homeboy Sandman Release New EP <em>Miami Lice: Season Four</em> appeared first on Stereogum.

1975 saw EAGLES on the verge of world domination which “Hotel California” would bring about a year later, but when the band released “One Of These Nights” that features such smashes as “Take It to the Limit” and the album’s … Continue reading →

The post EAGLES Go Deluxe For “One Of These Nights” appeared first on DMME.net.

In case you haven’t picked up on it yet, I am insanely fucking hyped for Corrosion of Conformity‘s next album Good Man/Baad Man. Those guys are easily one of the best stoner/sludge/groove/doom metal bands out there today and have been for decades, so this album’s eventual release is nothing short of an event in my eyes.

Of course, a new album means new singles and after the recent release of “Gimme Some Moore”, fans of the band have been itching for that next hit. Well, here it is — they released a new single titled “You Or Me” today and it’s fucking awesome. It’s got killer riffs, great solos, and a weirdly trippy part half way through.

Then there’s the accompanying music video, which is an absolute trip. Created by visual artist Costin Chioreanu with additional footage filmed by Mike Holderbeast. That kind of collab, the band said, was integral to getting this single out there.

“Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrision’s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast’s crew as well.”

Good Man/Baad Man will be released on April 3 via Nuclear Blast Records, but you can preorder your copy today. If you’d like to catch ’em live, you can check out the full list of tour dates below and get your tickets today.

Good God / Baad Man Track Listing:

Album 1

1. Good God? / Final Dawn
2. You Or Me
3. Gimme Some Moore
4. The Handler
5. Bedouin’s Hand
6. Run For Your Life

Album 2

7. Baad Man
8. Lose Yourself
9. Mandra Sonos
10. Asleep On The Killing Floor
11. Handcuff County
12. Swallowing The Anchor
13. Brickman
14. Forever Amplified

CORROSION OF CONFORMITY Live:

4/07/2026 The Masquerade – Atlanta, GA *
4/08/2026 The Pyrle – Greensboro, NC *
4/09/2026 Starland Ballroom – Sayreville, NJ ^
4/11/2026 The Palladium – Worcester, MA ^
4/12/2026 Kodak Center Theater – Rochester, NY ^
4/14/2026 The Factory – Chesterfield, MO ^
4/15/2026 Manchester Music Hall – Lexington, KY ^
4/17/2026 VooDoo at Harrah’s Kansas City – North Kansas City, MO ^
4/18/2026 Anthem at Hard Rock Sioux City – Sioux City, IA **
4/19/2026 The District – Sioux Falls, SD ^
4/21/2026 Mesa Theater – Grand Junction, CO ^
4/22/2026 Metro Music Hall – Salt Lake City, UT (COC only)
4/23/2026 Treefort Music Hall – Boise, ID ^
4/24/2026 Cargo Concert Hall – Reno, NV ^
4/25/2026 Sick New World – Las Vegas, NV Festival Date
4/27/2026 Sunshine Theater – Albuquerque, NM ^
4/28/2026 The Horseshoe – Midland, TX ^
4/29/2026 The Aztec Theatre – San Antonio, TX ^
5/01/2026 Vinyl Music Hall – Pensacola, FL ^
5/02/2026 The Signal – Chattanooga, TN ^
5/03/2026 The Orange Peel – Asheville, NC ^
5/05/2026 Phoenix Concert Theatre – Toronto, ON *
5/06/2026 Fairmount Theatre – Montreal, QC *
5/07/2026 Le Poisson Rouge – New York, NY ***
5/08/2026 Underground Arts – Philadelphia, PA ***
5/09/2026 Mr. Smalls Theatre – Millvale, PA ***
5/10/2026 The Roxy – Lakewood, OH ***
5/12/2026 The Machine Shop – Flint, MI ***
5/13/2026 The Pyramid Scheme – Grand Rapids, MI ***
5/14/2026 Outset – Chicago, IL ***
5/15/2026 Cannery Hall – Nashville, TN ***
5/16/2026 Tipitina’s – New Orleans, LA ***

* w/Whores
^ w/Clutch, JD Pinkus
*** w/Whores, Crobot

The post Corrosion of Conformity Dropped a Supremely Groovy/Weirdly Trippy Single in “You Or Me” appeared first on MetalSucks.

FOR IMMEDIATE RELEASE
Frequency Overload Unleash “Thrash King” – Long Island Metal Giants Return to the Pit
Long Island, NY – Get ready to raise your horns and enter the pit. SODEH RECORDS is proud to announce the release of “Thrash King” , the latest relentless assault from Long Island metal titans Frequency Overload . Slashing riffs, pounding drums, and unrelenting energy define this track, capturing the raw essence of thrash metal at its most ferocious.
Recorded, engineered, mixed, and mastered by Joey Z (Life Of Agony) at The Nest Studio , “Thrash King” delivers a “sub-genre melting pot” of metal mayhem. Fans of OVERKILL and IRON MAIDEN will recognize the wall-of-death energy as classic thrash fury collides with a modern, blazing pace. Destined to stand shoulder-to-shoulder with anthems like “Caught in a Mosh” and “Toxic Waltz” , this track is a love letter to the dancers, moshers, slammers, and true pit crew of the scene.
Rejecting pseudo-intellectual messaging, Frequency Overload focuses on slam-for-slam’s-sake intensity. The lyrics celebrate the cycle of energy between the stage and the pit, culminating in a chorus that calls out: “Rise again, for YOU are the Thrash King!”
Promotional Taglines:
Return to the pit, return to the glory, raise your sword!
COME ENTER THE PIT!
“Thrash King” is now available wherever metal roars loudest. Prepare to feel the adrenaline, the sweat, and the pure, unadulterated thrash energy that only Frequency Overload can deliver.
Streaming / Purchase: https://frequencyoverload.bandcamp.com/track/thrash-king
Contact: zach@metaldevastationradio.com
Check them out now on Bandcamp and support! 


Connect: 
https://frequencyoverload.com/
Contact: thomasfbush@gmail.com

$15 TICKETS AVAILABLE VIA TICKETMASTER

WITH REGISTRATION OPEN NOW THROUGH MARCH 11 AT 10 P.M. ET

March 10, 2026, Philadelphia – On March 15, two days after Into Oblivion’s arrival, Lamb of God will perform at Philadelphia’s TLA (Theatre of Living Arts), with the one-off show giving fans a rare chance to see the band in an unusually intimate setting. Fit For An Autopsy will open the evening.

The celebratory event is especially meaningful because it takes place in Philadelphia, the city that helped catapult them to fame and served as the setting for their 2005 Platinum selling Killadelphia album and DVD.

Lamb Of God is asking fans to request tickets for the March 15 pop-up performance. Tickets are $15 (fees included), and fans can request now via Ticketmaster (https://bit.ly/LoG-TLA). Tickets that can be fulfilled will automatically be charged to the fan’s credit card and instructions on how to access tickets will be sent from Ticketmaster.

Submitting a request does not guarantee tickets. Request tickets on Ticketmaster (https://bit.ly/LoG-TLA) by March 11, at 10 p.m. Eastern. Lamb of God is using Ticketmaster’s Face Value Exchange to help fans get tickets at the original price. Tickets will be non-transferable and can only be resold on Ticketmaster at face value.

The Philadelphia event is part of a nationwide release-weekend celebration, with more than 140 independent record stores hosting Into Oblivion listening parties from March 13 to 15. Exclusive merch, including free Lamb of God swag (while supplies last), prizes, and an indie-exclusive, limited edition Poltergeist vinyl variant of the new album, will be available. A full list of participating stores is available at: https://listeningparties.into-oblivion.com.

Album pre-orders are available now (https://shop.lamb-of-god.com/collections/into-oblivion), including remaining limited-edition vinyl variants and a collectible Into Oblivion CD packaged with a companion zine featuring album art sketches, handwritten lyrics, and never-before-seen studio photos.

Into Oblivion track-listing:

1.    Into Oblivion

2.    Parasocial Christ

3.    Sepsis

4.    The Killing Floor

5.    El Vacío

6.    St. Catherine’s Wheel

7.    Blunt Force Blues

8.    Bully

9.    A Thousand Years

10. Devise/Destroy

Lamb of God’s Spring North American tour kicks off on March 17. In what promises to be the heaviest trek of 2026, the band will be joined by Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg. Tickets and VIP packages are on-sale now via Lamb-of-god.com/tour.

Into Oblivion North American tour dates:

March 17 National Harbor, MD, The Theater MGM National Harbor
March 19 Montreal, QC, Bell Centre
March 20 Toronto, ON, GCT Theatre
March 22 Detroit, MI, Fox Theatre
March 24 Minneapolis, MN, Armory
March 25 Chicago, IL, Byline Bank Aragon Ballroom
March 27 Denver, CO, Fillmore Auditorium
March 28 Salt Lake City, UT, The Union Event Center
March 30 Portland, OR, Theater of the Clouds
March 31 Seattle, WA, WAMU Theater
April 1 Vancouver, BC, PNE Forum
April 3 San Francisco, CA,The Masonic
April 4 Inglewood, CA, YouTube Theater
April 5 Phoenix, AZ, Arizona Financial Theatre
April 7 Albuquerque, NM, Revel Entertainment Center
April 10 Austin, TX, Moody Amphitheater
April 11 Irving, TX, The Pavilion at Toyota Music Factory
April 12 Houston, TX, 713 Music Hall
April 14 Nashville, TN, War Memorial Auditorium
April 15 Atlanta, GA, Coca-Cola Roxy Theatre
April 16 Raleigh, NC, Red Hat Amphitheater
April 18 Reading, PA, Santander Arena
April 19 Virginia Beach, VA, The Dome
April 21 Buffalo, NY, Buffalo RiverWorks
April 23 Brooklyn, NY, Brooklyn Paramount
April 25 Uncasville, CT, Mohegan Sun Arena
April 26 Boston, MA, MGM Music Hall at Fenway

Additional 2026 tour dates:

May 9 Daytona Beach, FL Welcome To Rockville
May 17 Columbus, OH, Sonic Temple Art & Music Festival
May 20 San Juan, PR Coliseo de Puerto Rico
July 24 Istanbul, TR Bonus Parkorman
July 25 – 27 Plovdiv, BG Hills of Rock
July 27 – 31 Râşnov, RO Rockstadt Extreme Fest
August 1 Wacken, DE Wacken Open Air
August 3 Leipzig, DE Haus Auensee
August 5 Lisbon, PT Vagos Open Air
August 6 – 9 Kortrijk, BE Alcatraz Open Air
August 7 Walton-on-Trent, UK Bloodstock Open Air
August 11 Copenhagen, DK K.B. Hallen
August 12 – 16 Dinkelsbühl, DE Summer Breeze
August 13 – 15 Sulingen, DE Reload Festival
August 14 – 16 Eindhoven, NL Dynamo Metalfest
October 30 – November 3 Miami, FL Headbangers Boat

Lamb of God is Randy Blythe (vocals), John Campbell (bass), Mark Morton (guitar), Willie Adler (guitar) and Art Cruz (drums). Formed in 1994, the Richmond, Va. based band has released nine critically acclaimed albums, received five GRAMMY® Award nominations, sold over 3 million albums, packed arenas around the world, and tallied over one billion streams and counting.

Widely regarded as one of the most influential and innovative forces in modern heavy music, Lamb of God’s most recent collection, Omens, arrived in late 2022, marking their sixth consecutive album to debut in the Top 15 on the Billboard 200. Kerrang! noted that the album finds the band “as reliably heavy, violent, and pissed off as ever,” and Consequence said the “album will break you down to nihilistic pieces.”

Lamb-of-god.com

Youtube.com/lambofgod

Instagram.com/lambofgod

Facebook.com/lambofgod

Tiktok.com/@lambofgod

The post Live Gallery: The Hara – Norwich appeared first on The Razor's Edge.

Another monstrous reinvention emerges.

Though perhaps best known as the band that originally put Cannibal Corpse front man George “Corpsegrinder” Fisher on the map and often overshadowed by their more prolific and fellow Florida-based contemporaries, Monstrosity is a band that captures the highly otherworldly character of death metal in its purest form.

The respective niches and gimmicks of unrelenting gore, blasphemy, and occult themes that are often presented to cartoonish degrees by the aforementioned Cannibal Corpse, Deicide, and Morbid Angel are generally tempered in favor of a more abstract and all-encompassing darkness, perhaps best explained as a versatile beast that can assume whatever form of horror it wishes.

Now just shy of six years to the day that their 2018 opus The Passage Of Existence answered an extended period of studio silence with an old school masterwork, their seventh LP Screams From Beneath The Surface accomplishes a similar feat with a fairly different aesthetic.

The arrival of this latest studio excursion, much like the previous six, lands with a couple of highly consequential shifts in the band’s lineup. The most pivotal of changes is the exodus of vocalist Mike Hrubovcak and the entry of one-time Massacre frontman Ed Webb, whose guttural barks and ravings aren’t a massive departure from his predecessor’s diabolical grunts, but prove slightly more nimble and closer to the original standard set by Fisher back in the early to mid 1990s.

Then again, the concurrent exit of guitarist Mark English and acquisition of scene newcomer Justin Walker to cut heads with Matt Barnes has resulted in an even more technically extravagant and melodically rich tapestry of terror being painted, making for an equally chaotic yet more melancholic experience. Top it all off with the return of long-absent bassist and co-founder Mark Van Erp to the fold with his glassy, virtuosic high-jinks to rival Alex Webster on his best day, and the rapid-fire auditory violence from behind the kit courtesy of Lee Harrison, and a seamless link to the formative glory of 1992’s Imperial Doom becomes impossible to miss.

While what this 10-chapter sonic codex of rage doesn’t outright cross the threshold that separates the old school sound from modern subsets of melodic and technical death metal, the building blocks to what birthed those later 90s styles are on full display. Following a brief ambient exposition of dreary keyboards and droning clean guitars, “Banished To The Skies” lands like a primal sledgehammer, showcasing the chops of every instrumentalist involved while also evoking a sense of nostalgia for the epic and multifaceted exploits that death metal regularly unleashed before any orthodoxy was established.

About the only drawback is that this extravagant first offering and the subsequent third entry, “The Atrophied,” in all its tech and blast-happy glory, stand on top of an impressive fray and all but catch the band hitting their apex point prematurely. Then again, the more consistently explosive character of shorter, thrash-infused crushers like “The Colossal Rage” and the chaotic fit of frenzied riff work and noodling bass majesty of “Spiral” hit so hard that even a seasoned death metal enthusiast might find himself knocked on his proverbial ass.

From one song to the next, it becomes clear that Monstrosity’s versatility continues to be their most distinctive feature, and it pays massive dividends at every point. The bone-crushing fits and starts of “Thorns” are painted over with a fluttering gloss of wild lead guitar breaks and a mystical atmospheric flavor that almost feels like an early 90s forerunner to Nile’s brand of brutality in a punchier 2020s package, meanwhile the overtly Middle Eastern-tinged and keyboard-steeped stomp of “The Dark Aura” could almost be a direct nod to the death metal Egyptologists from Greenville.

Compact and chaotic beasts like “Vapors” and “Blood Works” come with the most overtly old school death metal stylings, yet are so insanely busy and extravagant at every point that it effectively blurs the lines between the mad technical noodling of early Suffocation and the early progressive strides of Death’s middle era.

The closing hurrah of “Veil Of Disillusion” essentially compresses everything already encountered into one towering mass of exotic, technically charged mayhem, topped off with some of the most spellbinding guitar solo work since Death’s Individual Thought Patterns, and sees Webb deliver the most ferocious performance of the entire album.

For one of the original pioneers of the Florida scene that has been consistently plugging away in the death metal underground for just over 35 years, Monstrosity might have had more lineup shifts than they’ve had studio albums, but this is an institution where quality trumps quantity.

Much like their more prolific fellow travelers, Malevolent Creation, they’ve walked an interesting middle ground between the technical, brutal, and melodic strains that have subsequently cropped up without being drawn out of their old school sound, though they’ve definitely proven more adaptive in recent years.

Those who have been enamored with the Florida sound since its late 80s birth and younger trustees that may have been introduced to it via revival acts like Gruesome and Skeletal Remains will find a mighty tree of death still firmly rooted in the traditions that they love, but one with branches that spread farther out and touch upon more intricate territory.

Release Date: March 13th, 2026
Record Label: Metal Blade Records
Genre: Death Metal

Musicians:

• Ed Webb / Vocals
• Justin Walker / Guitars
• Matt Barnes / Guitars
• Mark Van Erp / Bass
• Lee Harrison / Drums

Screams From Beneath The Surface Tracklist:

1. Banished to the Skies
2. The Colossal Rage
3. The Atrophied
4. Spiral
5. Fortunes Engraved in Blood
6. Vapors
7. The Thorns
8. Blood Works
9. The Dark Aura
10. Veil of Disillusion

Order the album here.

The post MONSTROSITY – Screams From Beneath The Surface (Album Review) appeared first on Sonic Perspectives.

Tom Davies & The Bluebirds formed in 2019 and formed their current incarnation in 2022. The band hail from the South of England (Hampshire) UK. They perform around the UK and Eire at blues clubs and festivals, with appearances in Europe in 2026. The band are influenced by the 3 kings and other iconic blues artists, such as Peter Green, […]

The post Tom Davies and the Bluebirds ‘Angel on the Mississippi’ Out April 10th appeared first on ROCKPOSER DOT COM!.