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  • DEMO REVIEW: Gravetaker – Sheer Lunacy

    Last year Finnish death metal savages Gravetaker unleashed their debut demo. Seven years in the making, this is a truly wild recording that I had to retrospectively review as it has become a regular listening experience. Out on CD via Urealis-Tuotanto and LP via Iron Bonehead Productions.

    Sometimes you find a cut of metal that is so off-the-rails and wild it just rips its way into your life and doesn’t leave. That’s how I feel about “Sheer Lunacy”, the first demo by this Finnish duo of maniacs. Having picked up the LP after not being able to shake this haunting experience of total destruction; I figured I simply had to talk about it. This is a raw effort with maniacally rumbling bass and rusted barbwire guitars atop mountains of crashing drum perversity while the possessed vocals rabidly invoke evil with full force. There is a looseness to this recording that gives it that authentic archaic feeling while the music is wholly original and could be compared to the likes of Katharsis, Voivod, Necrovore, Sadistic Intent, Darkthrone, Repugnant or even some newer bands like Obliteration or Reversed. But these comparisons only make a small piece of the puzzle, the bulldozing belligerence of these Finns is like little else I have ever heard and its chokehold is one that is not going to relent. The suffocating atmosphere of sepulchral fury is inescapable while the ravenous storms of aggression are balanced with these cemetery-lurking passages more akin to the likes of Mortuary Drape; especially in the bass department. For a first demo it baffles me how many of my favourite elements they have managed to harness in such a striking and refreshed manner.

    There are moments of respite, where these tranquil passages give a breather to really allow tension to rebuild before the demented extremity continues. Right ’til the end this is a violating listen that hammer itself into your bones with no remorse. Managing to feel ancient and yet like nothing previously heard; the duo uphold the quality of their insanity for every second of the record which will ensure you keep playing it over and over until your ears bleed and bones dissolve. When a death, black or whatever other kind of extreme metal record remembers what came first (heavy, speed, thrash) it is always a far superior experience and that is never more true than with Gravetaker’s adrenaline-pumping outbreak of evil. Putting both the death and metal into death metal; this thing is lethal and hard to the bone. Such a punishingly intense listen that will not be shaken, “Sheer Lunacy” will possess you with its timeless savagery. Like being injected with molten rust; Gravetaker will leave you bleeding pure metal and show no mercy for the entire process.

    I cannot recommend “Sheer Lunacy” enough if you are a total maniac who misses death / black metal feeling truly wild, unruly, violent and chaotic. Like being struck in the face with a fist of granite; Gravetaker waste no time causing mayhem and bloodshed and despite taking a full seven years to complete one cannot deny how killer this thing is. Death steps over your threshold, let it in or fall to it…

    Rating: 9 out of 10.
  • Harrison Gordon Sign To Hopeless Records And Share Emotionally-Charged Single ‘Pretty’

    Harrison Gordon have signed to Hopeless Records and shared an urgent, emotionally-charged new single to celebrate.

    Titled ‘Pretty’, the Illinois-raised band’s latest single takes a sharp look at the world’s addiction to screens and our tendency to replace genuine human connection with algorithm-driven content.

    On the track, they’ve said:

    “‘Pretty’ is about how embarrassing it feels to engage with other humans in real life. I think a lot of us default back to retreating inside ourselves through the comfort of a screen because it feels so much safer than actually living your life. The last chorus of that track is about the terminal rot that ensues from this way of thinking.”

    Take a listen below.

    The band are currently on tour across the US with Arm’s Length, The Callous Daoboys and Super Sometimes.

    Catch them at the below dates.

    MAY

    8: PHOENIX, AZ Crescent Ballroom
    9: SAN DIEGO, CA House of Blues
    10: ANAHEIM, CA House of Blues
    11: SACRAMENTO, CA Ace of Spades
    13: SEATTLE, WA Neptune Theatre
    14: BOISE, ID The Shredder
    15: SALT LAKE CITY, UT The Depot
    17: DENVER, CO Summit Music Hall
    19: ST. LOUIS, MO Delmar Hall
    21: CHICAGO, IL House of Blues
    22: DETROIT, MI Saint Andrew’s Hall
    23: CLEVELAND, OH House of Blues
    24: TORONTO, ON Danforth Music Hall

    The post Harrison Gordon Sign To Hopeless Records And Share Emotionally-Charged Single ‘Pretty’ appeared first on Rock Sound.

  • Ingested – Denigration Review

    It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

    I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

    Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

    I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

    When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.


    Rating: Bad
    DR: 3| Format Reviewed: 320 kbps mp3
    Label: Metal Blade Records
    Websites: Bandcamp | Official Site
    Releases Worldwide: May 8th, 2026

    The post Ingested – Denigration Review appeared first on Angry Metal Guy.

  • Beatles Solo Albums Ranked Worst to Best

    All four of their careers included a stirring comeback – or two. Continue reading…
  • LIVE: Creeper @ Islington Assembly Hall, London

    Islington Assembly Hall hasn’t been this packed since the last local elections, or perhaps a wedding between two people with very large families. It’s an odd choice of venue for modern vampires Creeper to finish the UK leg of their Sangui-Tour in support of their Lost Boys-esque duo of albums, but the primary school hall ambience has deterred none of Creeper’s faithful: it’s a sold out show and then some. If anything, the handicap of the venue makes Creeper’s ability to conjure an atmosphere using nothing but the power of fan faith and a bucketful of harmonies that much more impressive. 

    “Rock music is a horny vampire,” warns the voiceover before Creeper enter the stage, and yes, if you’re here for the “Horny Vampire Music”, as Creeper term their sound, then you’re bound to have a good time. However, with every statuesque pose from frontman Will Gould, revelations strike us. The ‘Sanguivore’ duet of albums were intended to fit together like gothic Jenga blocks, their separation only necessitated by time and recording limits. Live, the positioning of their tracks forms one hypnotic narrative of lurid gore and dark worship, and in the barely six months since ‘Sanguivore II’, they’ve already wormed their way into our bloodstream like a virus and taken root in our playlists. A flick of Gould’s wrist and we’re commanded into song for ‘Blood Magick (It’s A Ritual)’, the crisp darkness he evokes as he intones each chorus line intoxicating. Lovely post punk chimes illuminate a previously unheard growl on ‘Lovers Led Astray’ before the pounding, infernal vigour of ‘Headstones’ ignites a rabid circle pit – something this venue doesn’t see very often.

    The more we hear, the quicker we’re inducted into the sweeping vision that Creeper have been building all along. It’s a journey we never knew were on, powered by whatever crystal idol Davey Havok sold his soul to in the noughties, and now we’re fully invested. The waltzing melodrama of ‘The Ballad Of Spook and Mercy’ provides a murder ballad on the largest scale, and the meaning bluesy burlesque of ‘Razorwire’ offers a compelling interlude in our tale, power and blues through Hannah Greenwood’s vocal cabaret flirtation. The theatrics of ‘The Crimson Bride’ grab you by the shoulders and shake you into belting out the unifying choruses before each pale cherry blossom note of ‘Love and Pain’ drifts down from above, the eruption of longing sending a dormant mirrorball spinning into life.

    We love the drama and world-building, but we’re powered by the absolute shred Creeper can chuck out. Without the softening that studio production can offer, ‘Prey For The Night’ explodes with intense static and the play-within-a-play that is ‘Chapel Gates’ betrays a punk energy that reveals their rough grit away from the costumes and the polish that Creeper apply to their sound. ‘Parasite’ hits the metal motherlode that we were anticipating, a full anthem for the slamming crowd. Respite comes when they give us an intimate take on ‘More Than Death’, laden with wisdom and devotion from beyond the veil. It’s beautiful and wrenching in equal measure, a dramatic monologue from a rock opera waiting to be written. We take the verses and run with them, making each one our own.

    A cracked grin from Gould is our reward for giving our all on ‘Further Than Forever’, the soundtrack to a rock opera waiting to be written and the perfect final act for a band who walk the tightrope above musical theatre grandiosity with their sound. Even the intro is enough to see a surfer absolutely flung across the room, seemingly weightless. The climax in the form of ‘Cry To Heaven’ is the epic payoff we knew it would be: we might be flagging by the time it appears, but the soaring chorus is enough to reignite us for one last bounce. Their secrets revealed, we feel closer to Creeper than ever before, and for a dark, splendid hour-and-a-bit, nothing else matters except their the cinematic whirlpool of the Sangui-tour and the grip it has on us.

    KATE ALLVEY

  • Winona Fighter Return With Explosive New Single ‘Bombs Away’

    Winona Fighter are back with their first new music of 2026, and their latest single is about as confronting as it gets.

    Photo credit: Katy Kinnon

    The trio’s first release since the arrival of debut album ‘My Apologies To The Chef’ last year, ‘Bombs Away’ dials everything we love about their outspoken attitude and huge hooks up to a new level.

    Ultimately, it’s an ode to burning the whole thing down, which is a message we can probably all get behind right now.

    Have a listen below.

    Winona Fighter are getting to ready to head out on this year’s Summer School tour, where they’ll be joining Honey Revenge, South Arcade, Games We Play and Chase Petra for a joyous run of shows.

    The tour will consist of 25 dates, concluding in Long Beach, CA, at the second stop of this year’s Vans Warped Tour.

    Take a look at the full list of dates below,

    JUNE

    19 – SAN DIEGO The Observatory North Park
    20 – LOS ANGELES The Belasco
    21 – PHOENIX The Van Buren
    23 – DALLAS House of Blues
    24 – HOUSTON House of Blues
    26 – LAKE BUENA House of Blues
    27 – ATLANTA Buckhead Theatre
    28 – CHARLOTTE The Fillmore
    30 – SILVER SPRING The Fillmore

    JULY

    01 – NEW YORK Irving Plaza
    02 – PHOENIX The Phoenix Concert Theatre
    05 – NEW HAVEN Toad’s Place
    07 – BOSTON Citizens House of Blues
    08 – ALLENTOWN Archer Music Hall
    10 – MCKEES ROCKS The Roxian Theatre
    11 – CLEVELAND House of Blues
    12 – CINCINATTI Bogart’s 
    14 – DETROIT St. Andrew’s Hall
    16 – CHICAGO House of Blues
    17 – MINNEAPOLIS Uptown Theater
    19 – DENVER Summit Music Hall
    20 – SALT LAKE CITY The Depot
    22 – SEATTLE Showbox SODO
    23 – PORTLAND Crystal Ballroom
    25-26 – LONG BEACH Vans Warped Tour

    The post Winona Fighter Return With Explosive New Single ‘Bombs Away’ appeared first on Rock Sound.

  • WE KILL COWBOYS Unleash New Single ‘Year Of The Snake’

    South African outfit We Kill Cowboys return with Year Of The Snake, a deeply introspective and emotionally charged new single that explores transformation, self-love, and stepping into a higher version of oneself. Blending hypnotic energy with the band’s signature raw intensity, Year Of The Snake feels both deeply personal and spiritually expansive. The track was […]