And, man, Exhumed is nothing if not fun.

Somewhere within that spectrum lies Exhumed’s beating heart – they’re a predominantly death metal band with grindcore strains throughout, blood-spattered and gore-soaked, vicious and violent, and always, ALWAYS fun. After a brief lay-off and partial reunion, through line-up shifts that saw founding drummer Col Jones depart and bassist / co-vocalist Sewage (gone since Gore Metal) return for Death Revenge and beyond, Exhumed soldiers ever onward, now on their ninth full-length of fresh meat.

To cut directly to the proverbial chase: Red Asphalt is, for the most part, business as usual for Exhumed. It’s catchy, carving death metal, with the Harvey-high / Sewage-low vocal interplay, and an appropriately filthy production that feels just polished enough to not wear the edges off. The riffs rip through tremolo-picked runs and groovier bits, with dashes of melody (though not as much as on some previous efforts). Lyrically built upon tales of life on the road – or really, more upon tales of death on the road – Red Asphalt is thematic, without being a concept album, similar to the VHS b-movie inspiration of Horror. The title track hits that perfect Exhumed stride: catchy guitar work, an immediate vocal hook, a midtempo bulldozer drive that upshifts into thrashing glee. More of those sweet melodic guitar leads appear in “The Iron Graveyard,” with others cropping up throughout – in “Signal Thirty,” in “Symphorophilia,” everywhere – and with each repeated listen (and there have been many so far, and more to come), I’m reminded that those big bloody meathook-sized earworms are Exhumed’s true calling cards, lancing through the eardrums and right into the brain, never to work itself free.

Of course, with any Exhumed album, at this point, the question is not so much “what are we getting here?” but “how does what we’re getting here compare to what we’ve gotten before?” and the answer is “quite well, actually.” I’d place Red Asphalt above To The Dead, which I very much enjoyed, and soundly above Horror, which I also very much enjoyed. Everything this band does will immediately be compared to that first run of three, those classics of gore metal, to the extent that it’s almost irrelevant if Red Asphalt lives up to Slaughtercult, as long as it lives up to the band’s logo on the cover, and it certainly does that.

This is Exhumed; this is death metal (mostly); and like the man said, this is fun.

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Killing Spree doesn’t change any of those attributes, thankfully – but it does both sharpen the band’s attack a bit, and devolve it in another manner. To the former point, the riffing and the writing is a noticeable bit more technical, with turn-on-a-dime stops and shifts often punctuated with syncopated, almost jazzy beats that very quickly turn back into hammering blasts. The arrangements are more intricate than the full-on poundings of previous releases. At nearly nine minutes, closing track “Millions Of Slobbering Rats Devouring Their Blasted Out Brains” is almost progressive, longer than most grindcore EPs on its own. More importantly than the technicality, though, is that Sulfuric Cautery continues to deliver a positively primal pummeling, twenty-one songs in twenty two-minutes. Sandwiched between the likes of “Disemboweled With Shit Stuck In Their Mouths” and “Slobbering Rats,” there’s much to love about the absolutely savage “Murder Suicide,” the curiously titled “Bourgeois Historiography,” and the almost (by relative standards) groovy title track.

To the latter point above, the production on Killing Spree is somehow even more harsh than those of its predecessors, the crusty ick rolled off to give the guitars a fuzzier, midrange-y bite. This is still raw – have no fear that Sulfuric Cautery has gone easy listening – but it’s a different raw, a harsher and noisier type of ugly. I do find myself wishing that the guitars had back some of that thick filthiness, but overall, the noisiness is not a dealbreaker, by any stretch.

As soon as I heard a new Sulfuric Cautery was coming, I’ve been biding my time, predicting that this would be one of the grindcore albums to beat in 2025. Now that it’s here, I’ll stand by that prediction. Alongside the likes of Trauma Bond, Type: Armor Unit, and Meth Leppard – each one a different type of madness, and yet each a grand grinding in its own right – Killing Spree simply kills, twenty-two minutes of relentless hyperblasting happiness, a little sharper, a little harsher, and a whole lot of hell yes.

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Flash forward not quite a year, and here we are with the first Haggus full-length on their new home (their fourth full-length overall). Destination Extinction sees our ski-masked heroes churning out another ten tracks of minced-out madness, albeit cleaner and more refined ones, comparatively. The most notable and immediate distinction between Destination and the releases before it is that, produced and mixed as it was by Greg Wilkinson, Destination simply sounds clearer than any Haggus that came before. It’s still filthy, but it’s a more… professional version of it. It’s still filled with pitch-shifted vomits and snarls and barks, with guitar tones dialed up from the sewers, but now those are sharp enough to be distinct and well-rounded. Destination also rolls along on a wonderfully gnarly grindy bass sound, and punchy and clear drums that still sound real.

From a song perspective, most of Destination Extinction hews closer to the metallic crunch of 3 Cadavers, although there are definite nods to the sloppier, punkier side of mince scattered liberally throughout. Mister Brisket’s dirty low-end tone is evident from the get-go, in the stomping opener (and first advance track) “Rotting Off.” New drummer The Slamburglar lays down the tupa-tupas and blasts, with some whip-tight stops and some chunky, bouncy riffs beneath Hambone’s inhuman gurgles and buzzsaw chords. “Bound By Realms Of Cruelty” rips out of the gate with a harmonized guitar lead, adding a fun element of shred to the first minute or so, before cycling through a series of riffs and rhythmic shifts that are downright “intricate” compared to some of Haggus’ previous work. “Lobotomized Compliance” follows the lead into metal ground, while the tracks that surround it – “What’s Fucking Left” before and then “Do You Love Mincecore” after – step back to the punk side of the line, and both show the band’s ability to write big grimy hooks hasn’t waned. The latter of those might as well be a street-punk song, just roughed up and coated in puke. Or… even more puke, I guess…

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But the universe provides, my friends, because now that I’m fully on board, here I sit with a brand new Putrid Offal offering, only their third full-length in thirty-five years, and knowing now what I didn’t know then, I’m quite excited about this. Weird how things work out sometimes, innit?

Thematically, while Putrid Offal certainly finds inspiration in the icky, they approach their blood-spattered battering from a more historical side than sheer medical dictionary verbosity. Sicknesses Obsessions dealt with the origins of pathology through the work and studies of Andreas Vesalius, and Obliterated Life is another scholarly trek through blood and guts, this time focusing on a French battlefield surgeon during the Napoleonic wars, Dominique-Jean Larrey.

Musically, all those goregrind hallmarks remain, the sheer savagery of the riffage and the rhythms, the hints of sickly melody between them, the dueling high-low vocal attack, and a general sense of grossness befitting the subject matter. “The Sweet Fragrance” blasts out of the gate, with perfect examples of all of those traits, the vocal hook of the chorus balanced atop lightly dissonant chords, while second track “Boning Hall” (cue Beavis laughter) follows suit, the tandem showcasing Obliterated Life’s strengths in back-to-back bashers. Further rippers like the savage “Meat Stall,” “Sanguis In Oris,” and “Mass Murder” hammer the point home happily. In the end, Obliterated Life comes in as Putrid Offal’s most vicious and sharpest offering yet, although it does up the aggression largely at the cost of the epic tints that colored Sicknesses, with that prior album’s touches of female counterpoint vocals and tasteful keyboard augmentations. (Obliterated is a strong record, no question, but Sicknesses remains my favorite of the three Offals thus far.) Still, savagery is the name of this game, and savagery is certainly what’s delivered, throughout Obliterated Life’s fifteen tracks and nearly forty minutes.

I’m not entirely sure how I missed out on Putrid Offal for decades, though in my defense they weren’t around for two of those. Nevertheless, better late than not at all, of course, and it certainly helps that they’ve delivered an absolute monster of a record right as I’m coming into the party. So if bloodsoaked death/grind tickles your sickness, kids, come on in and join me… it’s gross in here. And you’ll love it.

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Opening with its own “trailer” (c’mon, guys, you missed the “entrailer” pun here), Tales is really just four songs, for a grand total of about ten minutes, a quick and dirty shot of surgical savagery. What’s most readily apparent comparing this to Deader and Dialect is that Cartilage is simply getting better at what they do – Tales is a sharpened attack, better produced, better composed, better performed, the sound of a band taking the next step forward. Mark Wallace’s vocals run the gamut from the expected gurgles, death grunts, and maniacal cackling, and the variety is greater here than on previous offerings, adding an even greater element of the horror theatrics that make gore metal such irresistibly goofy fun. Both “Frothed Vomit Slosh” and “Globs Of Glimmering Gore” are straight-ahead gore-grinders, while “Ape-U-Tator” intertwines the 911 call from a chimpanzee attack with the EP’s best riffs, a spiraling twisted mass of pinch harmonics and blast beating.

While they may not be the most original band on the butcher’s block, Cartilage does what they do with flash and skill and enough silly sickness (or perhaps, with enough sick silliness, and possibly both) that Tales From The Entrails doesn’t feel played out or warmed over. It’s the strongest Cartilage release so far, and though there’s not all that much of it (I’d happily take another half-dozen songs just like these, so hopefully more is yet to come), for those in the market for more gore, Tales From The Entrails gets the blood flowing…

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Exactly one year ago, I published my extraterrestrial-themed end-of-year recap featuring a plethora of little anecdotes and assumptions about green or gray beings in superbly-advanced spaceships, navigating their way throughout the infinite universe(s). So, this year, for the sake of NOT GIVING THE PEOPLE WHAT THEY WANT, I will refrain from discussing the New Jersey “drones.” My apologies if you expected more from me. You may consider this my Illud Divinum Insanus.

At your altars, I could have blessed thee, leaving a covenant of details regarding everything they don’t want you to know, and it would surely dominate the headlines.

But let’s talk about what you do know: The devil lies within the details. Breadcrumbs are scattered if it is truth you seek.

This isn’t meant to be some sort of far-out dramatization of something I already told you I wouldn’t discuss.

So, I’ll leave it at that—there ya go. Happy now?

Now, on to bigger and better discussions: the albums that consumed my first full year of being employed by the ghouls at Last Rites. Reflecting on 2024, was it the strongest run of releases? Nah. But I was still paid handsomely by the owners of this site, so who cares?

Of course, the ebb and flow are inevitable. Nonetheless, I still found plenty of tunes that I’ll certainly return to as the years drift by. Side note: Music is such a peculiar thing, isn’t it? It’s bizarre how I still cling to the artists and songs that plagued my youth but remain in search for the next piece of nostalgia that will obliterate my eardrums 30 years from now, assuming this ball of rock continues spinning for another three decades. On the other hand, perhaps I have become at least a little bit jaded. And in all honesty, I’ll probably never be able to replicate the emotions I felt after listening to Reign in Blood, Beneath the Remains, or A Blaze in the Northern Sky for the first time. I suppose that is the curse of the elongated tooth, and the unlimited access to new music and instant gratification. But I digress.

If you wandered around the ol’ Facebook circa 2011-2012, you probably scrolled past a plethora of cringy, “The thing about music is that when it hits you, you feel no pain,” status updates. That quote, my friends, was routinely attributed to the great Bob Marley. While an admirable sentiment, I—and obviously you—enjoy agonizing music. Heavy music isn’t for the normie. And by heavy music, you know what I mean—the underground, brah brah. And a niche it shall remain.

With all of that said, I present to you my top 20 list of mostly underground metal gems. Hopefully you find some little nuggets that you didn’t get the chance to check out, or those that escaped the metal X (formerly known as Twitter) echo chamber. Enjoy!

SHINE ON YOU CRAZY DIAMOND (PTS. 20-11)

20. Hemorrhoid – Raw Materials of Decay

“With a name like Hemorrhoid, I’m sure you were able to gather that there’s some death and goregrind going on there, right? If the Carcass-y riffage doesn’t hit the spot—and while it should—just gaze upon the glory of Filth Effigy’s hideous masterpiece on the cover. A melting human body, in extremely gruesome detail , encompasses the album’s nauseating, guttural production and nods to the greats of yesteryear. The blast beats are likely to pop the unfortunate soul’s yellow, pus-filled sores and the riffs are capable of shredding the ligaments and veins falling from the bone like a perfectly-smoked rack of ribs smothered in BBQ sauce.”

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19. Necrot – Lifeless Birth

“Look, if you’ve come searching for Necrot, you’ll find Necrot on Lifeless Birth. However, they’ve genuinely taken everything, from songwriting to production, up a notch for album No. 3. Lifeless Birth is just as punishing as the Necrot you remember. Still, their songs are catchier, more technical, and—at times—more progressive than ever. Indrio, Reinhardt, and Gailey have a knack for this death metal thing. And, again, they put out their best record after overcoming so much adversity—much respect.”

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18. Coffin Curse – The Continuous Nothing

Chilean death metal rules, dude. Coffin Curse is no exception, clearly. Of course, falling on my end-of-year list displays my obvious bias towards the record, but I do think it’s a must-listen for the death metal aficionados out there. Put simply, it’s obliterating, and has rifffffffffffssssss for dayssssssssssss. They aren’t doing anything too fancy, but what they do is tried and true to the ‘90’s Florida scene with some Finnish influences sprinkled in there. So, yeah, it’s full of blast beats and swirling riffs. What more could you want?

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17. Noxis – Violence Inherent in the System

MIDWEST, STAND UP! Now, please sit down. My Midwestern brethren in Noxis dropped a cornucopia of technicality, death metal-grooving riffs, and mighty thick bass lines this past year in the vein of, let’s say, something like 1996’s Millennium, but also from the school of Chuck Schuldiner, Bill Steer, and a plethora of other DM royalty. Violence Inherent in the System is a masterclass in wearing your influences on your sleeves, but breathing new life into said cloth. Much fun.

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16. Kontact – Full Contact

Oh, no. Extraterrestrial discussions are popping up again. While I said I would refrain from further discussing anything remotely involving aliens, I suppose I overlooked I’d have to talk about this Kontact record. Kontact is an alien-themed band from Canada, hoisting inspiration from the traditional heavy metal realm—think Voivod drenched in the blood of our one and only King Diamond. Do you think they had a Transylvania on Mars? Do you think they wore cool leather jackets with spikes glued atop the shoulders? If they did, they’d probably spin Full Contact, too.

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15. Civerous – Maze Envy

“The seven tracks, clocking in at just about 42 minutes, is a disturbing journey, like an Ari Astir version of the classic film Labyrinth. From the moment ‘The Azure Eye’ starts and sets the tone with some early ’90s horror- inspired sounds—think The Exorcist III—you’re submerged in a quicksand pit of wickedness. And once you’re halfway through ‘Shrouded in Crystals,’ you’re past the point of no return; you’re along for the ride—whether you like it or not.”

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14. Mitochondrion – Vitriseptome

Nearly 90 minutes of absolute death metal chaos? Can’t handle it? Get out, poser! Mitochondrion returned with an absolute beast of record in the latter part of 2024. Built upon layers of dissonant riffs, brooding blasts, and growls from Hell’s catacombs, Vitriseptome is a sonic vision into the darkest side of the spiritual realm. It’s an incredibly dense record that continues growing more sinister with each layer of flesh you peel back.

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13. The Mosaic Window – Hemasanctum

“Hemasanctum is a brilliant follow-up to one of my favorite records from the last few years. The kicker here is that Brown stepped it up a notch for LP No. 2. Musically and emotionally, from start to finish, it holds the gravitational wrench of a black hole. The tunes pull at each fiber of your being. The Mosaic Window isn’t simply a project you should delve into; it’s a project you must. And once you do, there is no escaping.”

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12. Ihsahn – Ihsahn

I have always appreciated Ihsahn’s ability to break free from the confines of Emperor. We all love Emperor, sure. But his ability to carve a name for himself outside of that brand is admirable. The symphonic black metal vibes remain interwoven in his solo ventures, and he uses them as the catalyst for one of the more theatrical and cinematic releases of 2024. It’s weird; it’s artful; it’s a spectacle; it’s 100% Ihsahn.

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11. Nile – The Underworld Awaits Us All

At this point, Nile landing on any year-end list should come as no surprise. As one of the heaviest hitters in the genre, the ancient Egypt-obsessed death metal creators have been churning out quality releases longer than their song titles. Technical, yet weirdly accessible for death metal noobs, Nile understands the true allure of the genre is rooted in raw, unfiltered violence. The Underworld Awaits Us All is, of course, your typical Nile, but the holistic performances from each band member helped create their best record since Those Whom the Gods Detest. It’s another creative songwriting venture full of BDM and tech death. It’s Nile—you’ll love it.

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SHINE ON YOU CRAZY DIAMOND (PTS. 10-1)

10. MAYHEMIC – TOBA

Another Chilean band has entered the chat. Mayhemic was one of this year’s house bands around the Last Rites parts, and for good reason. Featuring some of the best riffs of the year, Toba is technical, blackened thrash akin to the likes of early Slayer, Sepultura, and Sarcófago. There’s no shortage of bits and pieces of the ‘80s extreme metal scene here for the taking. In addition to the great rhythm playing, you’ll find dynamic leads, neck-cranking work from behind the kit, and anthemic hooks. Consider yourself a metal connoisseur? You’ll dig Mayhemic and Toba.

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9. DARKTHRONE – IT BECKONS US ALL…

Let’s rewind back to my April 2024 review of this record:

“As I mentioned earlier, this era of Darkthrone isn’t for everyone, and that’s perfectly fine. For the old-school metal faithful, It Beckons Us All is for you. It’s another Darkthrone album full of memorable riffs, vocal performances and throwbacks to the icons that shaped heavy music as we know it today. In the end, one thing is for certain: Fenriz and Nocturno Culto know how to write great metal songs; this record is another testament to that narrative.

But on the other hand, maybe I’m just falling into the nostalgia trap. If that’s the case, I’m thinking oblivion.

Well…

It beckons us all…”

Indeed, for some, the enjoyment of It Beckons Us All… may be sparked by a yearning for yesteryear. And of course, it’s Darkthrone, so you’ll hear the ever-present nods to the great Celtic Frost, and now in this most recent era, the influence of traditional heavy metal. But I think that’s what I love most about It Beckons Us All…–nothing sounds forced or disingenuous. Nocturno Culto and Fenriz have pronounced their love for all things ‘80s, and as they have said, for them, it’s always been about that era. Knowing that, perhaps they’re now writing in their most natural state. I can hear it. I love the old stuff just as much as you do, but I’m starting to find that this might just be my second favorite era of the band.

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8. JUDAS PRIEST – INVINCIBLE SHIELD

Judas freakin’ Priest. Ever heard of them? A half-century of running wild across Mother Earth, defending the faith, has yet to take its toll on the quality studio recordings of the legendary British outfit. While there are some stinkers in there, and I’m not pointing at Turbo, the band has found a second wind since 2018’s Firepower.

First and foremost, Rob Halford deserves all the credit in the world for performing at such a high level at his age. Alongside Rob, the duo of Richie Faulkner and, obviously, Glenn Tipton, are spearheading the excellence and strength of this new era of the great and powerful JP. There isn’t much else I can say that hasn’t been said about Judas Priest over the course of 50-plus years. They’ll always hold a special place in my cold, metal heart, and I’m just happy to see them still out there doing the damn thing.

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7. ORANSSI PAZUZU – MUUNTAUTUJA

Is this all a simulation?

And if this is a simulation, does it all end once that hypothesis is proved true?

Is our existence as sporadic as our thoughts?

Could it be that neither you nor myself have any control over the happenings we encounter?

Somewhere, out there in the blackness of the cosmos, is there another form of consciousness overseeing our every move?

Are we nothing but slabs of meat hooked into an augmented reality machine?

If we aren’t truly living, does death even exist?

And if death does not exist, should we simply continue moving with the infinite current?

What good is a question without an answer?

Which begs the question: Is anything even worth questioning?

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6. ULCERATE – CUTTING THE THROAT OF GOD

“As I sit here writing this and think back on the words and notes I’ve jotted down, maybe we’ve reached the point where comparisons to their prior releases are nil. Does it matter if this new album is better than Stare into Death and Be Still or Everything Is Fire? In 2024, this is exactly what I was hoping to hear from a new Ulcerate album: a fusion of unfathomable heaviness, methodical technicality, and otherworldly atmosphere. The New Zealand trio has reached a state in their careers where you expect excellence with each release, and that’s precisely what you’ll hear on LP No. 7. Put simply, despite its name, there are no open wounds to cauterize on Cutting the Throat of God.”

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5. EXHUMATION – MASTER’S PERSONAE

Indonesia’s Exhumation popped up out of nowhere for me this year based on a recommendation from Last Rites’ resident extreme music know-it-all, Konrad. The more I listened to the record, the more enamored I became. It’s gritty black/death metal in the same stratosphere of the aformentioned genres’ first waves in the ‘80s. So, as you’d expect, there’s some thrashing all around and actin’ like a maniac here, too.

Exhumation really toes the line on production value. At times, it sounds rawer, especially with the vocal reverb and up-tempo riffs blitzing through the mix. Conversely, the sound is a bit cleaner as you’re flooded with the more atmospheric elements, emphasized by beautiful solos and the incorporation of synths and acoustic instrumentation.

Master’s Personae is an album with copious amounts of replay value. It truly digs its claws deep into your skin before sinking into your bones. Hypnotic.

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4. BRODEQUIN – HARBINGER OF WOE

“Harbinger of Woe was two decades in the making. The Knoxville, Tennessee brutal death metal outfit’s follow-up LP to 2004’s Methods of Execution is a reminder that they’re one of the heaviest hitters in a sea of power punchers. Dating back to 2000’s Instruments of Torture, Brodequin has always encompassed the violence and suffocating nature of extreme music. From the subject matter to the album art to the music itself, it all makes these Tennesseans a quintessential BDM band.

It’s true that Brodequin doesn’t exactly reinvent the wheel or branch off into uncharted territory, but what they do, they do so immaculately—chunky riffs at blasting BPMs overlayed with growls and squeals submerging deeper than the Mariana Trench. And the grooves are infectious as hell; my favorites being the midpoint riffs on “Vredens Dag” and the final minute-and-a-half of the title track. Of course, we shouldn’t gloss over the splendid performances from the rhythm section that add layers of impenetrable thickness to “Of Pillars and Trees” and “Fall of the Leaf.”

While Harbinger… may be the most well-produced of their four full-lengths, it also just might be their best album, even eclipsing the highly-regarded Festival of Death. There’s something to be said about a band that knows what they do well and roll with it. Sometimes, our own worst enemy is the instinctual urge to drift away from the same old song and dance. But chopping away at the same piece of granite, shaping it, and refining it time and time again is the key to the magnum opus. Now 26 years into their existence, Brodequin can take a step back and admire theirs—absolutely brilliant.”

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3. MOTHER OF GRAVES – THE PERIAPT OF ABSENCE

Where do I start? These Hoosiers know how to death-doom. If you recall (you don’t), I threw this record up on my “most anticipated release for 2024” list back in January. Here’s what I said:

“On their debut album, Where the Shadows Adorn, the tone was dark and captured the palpable emotion of a grieving man. Some moments on their full-length debut will remind you of early Tiamat and Katatonia and The Peaceville Three. Still, you’ll also find the band’s unique interpretation of those styles. The catharsis that bleeds through the keys and guitar tones is a grim reminder that time heals all wounds but only to a certain extent—especially in death and loss. If you haven’t had a chance to check out Where the Shadows Adorn—released via the Indiana-based Wise Blood Records—I’d recommend doing so … immediately. You’ll see what I mean.”

The Periapt of Absence might just be more emotive than the debut. What’s truly special about this record is the duality of it all. Stacked upon beautiful guitar melodies that at times sound so optimistic are vocals that act as howls into an ever-flowing sea of gloom. In many ways, Mother of Graves is a perfect metaphor for both hope and misfortune—and one simply cannot exist without the other. A truly flawless record.

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2. NIMBIFER – DER B​Ö​SE GEIST

“When raw black metal is done right, for me, there’s nothing within the metal genre that evokes emotion more. The rawness fits perfectly with the aesthetic—black and white album covers, band members in spiked gauntlets, evil incarnate…you get the picture. Speaking of ‘evil,’ the latest LP from German black metal outfit Nimbifer, Der böse Geist, translates to ‘The Evil Spirit’ and lives up to its name. While a raw black metal release, Der böse Geist weirdly sounds thick and packs quite the punch…

Nimbifer strays far from the stereotypical—and sometimes correct—assumptions regarding the raw black metal realm. Each instrument can be heard on the album—even the forbidden bass—adding some color to the usual black-and-white aura of the genre. Der böse Geist is an entity in and of itself, which is the best way to put it. It bleeds character through its substance. Each moment enhances the next. From the minute ‘Der Wind’ echoes through your speakers, Nimbifer sets a triumphant tone with earworm melodies that you’ll find yourself humming in the days following your inaugural listen. The echoes of the vocals, howling like a tortured spirit in the night, will slither between your nerve endings.

The album’s high point, ‘Schlangenmaul’ is by leaps and bounds my favorite song of 2024 thus far. The melodies shine brightest (or dim darkest?) here. The buildup to the finale is a testament to the band’s songwriting and keen attention to constructing and liberating tension. Another standout moment, ‘Auf endlosen Pfaden und haltlosen Strömen,’ nearly clears the eight-minute mark. Here, Nimbifer lays out each section’s criticality. I wouldn’t say the rhythm section is necessarily an unsung hero since it truly is the backbone of the LP, but some of the band’s best efforts are bestowed here.

There’s more than enough to keep you returning for more on this new Nimbifer album. If you typically stray away from the raw BM scene, I urge you to give this one a shot. This is a special release and one that I hope to see on the various end-of-year lists come December. I can assure you it’ll be on mine.”

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1. DEFEATED SANITY – CHRONICLES OF LUNACY

At their worst, Defeated Sanity is the poster band for consistency. In their finest hours, they’re one of the best extreme metal bands on the planet. In 2024, the German brutal death metal outfit churned out their best album more than two decades into their careers. Pummeling, nauseating, and challenging, Chronicles of Lunacy embodies everything I want out of heavy music.

The band creates infectious grooves and intricacies that deserve infinite listens. As Cap put in in his review, grab a nice set of cans and listen intently. While grotesque, as BDM should be, there’s something soothing in how the album flows and how the sectors of the band mold. The technicality isn’t overbearing either—it’s actually quite hypnotic, like waltzing through chaos with the resting heart rate of a marathon runner.

As 2024 ended, I kept bouncing back and forth between which album to throw in the top spot. However, it became clear once I realized that I just couldn’t escape Chronicles of Lunacy. It still consumes my daily rotations. Despite its Q4 release, this is much more than recency bias. But don’t take my word for it. Dive in and thank me later.

Hell yeah.

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Building on the basis that Carcass laid down a zillion years ago – and the title and album cover add an obvious nod to that band’s second record – Houkago Grind Time rips through Lee’s seemingly endless well of quality riffs, the twisting guitars and generous usage of pinch harmonics pulling from the more death metal side of the spectrum. Opening track “HGT Live At The Budokan” actually isn’t live (what a cheap trick, Andrew), but it does set the stage admirably, furious grinding swagger giving way to a thrashy middle bit before resolving in all the pong-y snare blasting a kid could want.

From there, it’s seventeen more songs in about nineteen minutes, variations upon the theme, but each with their own array of hooky riffs and the occasional shreddy guitar lead. (For a prime example of both, see the tandem of “Some More Moe” and “Disgrace To The Corpse Of Watsuki,” two of Koncertos’ longest numbers and two of its best.) With guest vocals from Billy Smeer (Sauce) and Joseph Schafer (Colony Drop), “I Like Dubs Over Subs” is a mid-album shoutalong beatdown with another fun guitar solo, this time courtesy of Tom Maher of Mass Extinction. “I Love Jelly-Filled Donuts” certainly lives up to that culinary delight’s deserved high-billing, and by the time “Why Do You Post?” wraps up these Koncertos, it’s been a short but blistering ride through yet another strong batch of grinding geekery from the best anime-grind outfit around.

Even if you don’t know where you stand on the battle between dubs and subs, Houkago Grind Time still cares, and thus, there’s much to love here in the bizarro world where savage blastbeats and razor riffery walk hand-in-hand with cuddly, wide-eyed cartoon characters. In a world where legions of goregrinders have combined every possible medical term in ways both coherent and nonsensical, at least Andrew Lee is bringing a new lyrical slant to his brand of icky sickness, and with it, a welcome sense of silliness… and of course, all those killer riffs certainly help, too.

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That’s what Septic Worship says to me from the first instant, the opening five-second blastfest of the wonderfully titled “Inauguration Of Septic Tank Release And Epic Faecal Sludge Chug-Off.” Blastbeats, overlapping burping vomitous growls, squalling guitars, no real riff save just cacophony… Ah, the sounds of grindcore…

Septage’s previous two EPs were both strong examples of early-Carcass-leaning gore-spattered death / grind, the second a little stronger than the first, so they’re on the upward arc. With that in mind, it’s no surprise that, now that they’ve gotten around to a full-length affair, Septic Worship is yet another forward step. (For those keeping track at home, both songs on their 2022 split with Hyperdontia appear here, as well.)

No, Septage doesn’t break any new ground really – this is goregrind, after all – but all of their work, and especially this one, is absolutely a bloody blast that fits snugly within the established parameters of the style, and does so with ample skill and reverence and professionalism. Handily one of my favorite beautifully nauseating releases of 2024 so far, alongside Hemorrhoid’s Raw Materials Of Decay, Septic Worship is one hell of a goregrind good time, which is exactly what I expected and exactly what I wanted, and anyone else with a penchant for all things gross and riffy will find much to like in this pile of rotting flesh.

So get in, friends… and let’s go grinding.

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