Extinction of Mankind from Oldham return after years of silence, with a new rhythm section and a record that shows the band never lost its core. “Slave to No One” is an album that plants itself firmly in the filth of crust and the stench of stenchcore, with guitars that drag like rusted chains and vocals that spew rage.
“`Ste remains at the center, with lyrics that strike at social decay, environmental destruction and state manipulation. The sound is huge: buzzing bass, drums that recall a war machine and guitars that break bones.
ENTOMBED – “Inferno” is reborn with a remaster that changes the game
“Inferno” was always Entombed’s most misunderstood record. Dark, raw, anti-commercial, with a production that was deemed “mud” at the time. Today, though, with Magnus Lindberg’s remaster, the record reveals its true face: a death ‘n’ roll monster that was boiling beneath the surface.
The new mix opens up space, gives the riffs room to breathe and highlights the bass that was always the album’s hidden strength. Tracks like “Children of the Underground” gain a new dimension, while “Nobodaddy” and “Flexing Muscles” retain their strange, almost ironic character.
CUTTHROAT – Invoking Terror
The Irish Cutthroat left speed metal behind and dove deep into late‑80s death metal. The EP “Invoking Terror” is raw, full of feedback, divebombs and an aesthetic that recalls the tape‑trading demo era.
The compositions are short, aggressive and without much decoration. The highlight comes at the end with “Life Beyond the Grave”, where the band shows it can write something more than a simple old‑school attack.
CELESTIAL POWER – Ritual improvisation and psychedelic intensity
Celestial Power were created as an experiment: two guitars playing without rules, without structure, without communication. The result is four ten-minute compositions that resemble ritual chaos.
Side A is a collision of sounds, like two different universes trying to decide which will prevail. On Side B, the participation of Nik Rayne (The Myrrors) brings a more organized flow, with a desert‑psych atmosphere and cleaner bass.
KILTER – Ten Billion Years
Kilter attempt something few would dare: they take a 10-minute composition, slow it down 4 times and build an entire album on top of it.
“Ten Billion Years” is a journey through time, matter and perception. Drone, jazz, metal and avant‑garde elements interweave in a work that demands attention and patience. Rosenberg’s bass saxophone and Grohowski’s rhythmic patterns create a sonic microcosm that constantly changes form.
RÖDTJUT – Framtiden var bättre förr
The Swedish Rödtjut return with a record that leans on the golden age of hard‑progg, but with a more heavy rock disposition. “Framtiden var bättre förr” has riffs, groove and an unpretentious energy that makes the record flow easily.
“Rodogd blatira” and “Var tid” stand out, while “VMA” brings a more stoner side.
SEVEN CHAINS – Swollen, in Flux
Seven Chains from Idaho return heavier and sharper than ever. “Swollen, in Flux” is an avant‑black/death work full of strange structures, noisy guitars and synth layers that emerge through the chaos.
“Whence Blood No Longer Flows” and “Gestating Ash” show a band that isn’t afraid to experiment, nor to strike with pure metal weight.
SPEEDSLUT – Cimbrian Rites
Speedslut from Denmark play as if they stepped out of 1984: fast, dirty, evil heavy metal with speed metal energy and reverb that fills the room.
“Cimbrian Rites” doesn’t reinvent the wheel, but it spins it with force. “Asbestos Born Wrath” is the track that really shows what the band can do.
