Brutal Beatings Volume XVIII

This 18th Sick Drummer Magazine – Brutal Beatings Compilation features: Gus Rios and Gruesome from the Relapse Records family, Danny Walker and Intronaut from Century Media, Justin DiPinto back with Malevolent Creation, Bob Beaulac and Skinless, also from the Relapse family, Nickolis Parks and Lord Dying, Danny Morris and Maruta, Norwegian Black Metal Masters, Christian Svendsen and Tsjuder from the Season of Mist family, as well as many other crushing tracks from some bands that may be new to you – including Kevin Talley with The Art of Hate.

Additionally, Jet from Metal Messiah Radio will be picking random tracks from our compilation for airplay on their station and picking one or two guys from each comp to interview on-air!

Our last compilation featured grind master Joe Axler and Theories out of Seattle,Doomspeak – a new project from Jason Snell (ex Pyrexia) that features Duane Timlin on drums (ex Dying Fetus, Divine Empire) and Michael Dorrian on guitar (Anatomy of I). The compilation also featured Brent Phillips and Abiotic from the Metal Blade records family, as well as Michiel van der Plicht of Apophys, also from the Metal Blade family, and several other crushing tracks from bands that we hope are now in your list of new favorites.

We would like to thank all the bands for appearing and all associated labels for their efforts.

Be sure to share this on all your pages and thanks for the support!

If you are interested in appearing on our next compilation, please send an email to: jason [at]

Brutal Beatings Volume XVIII


Garry Turner formed The Art of Hate after leaving Vancouver and his former Canadian Metal Icon band Volatile. The Art of Hate was born out of the Toronto Metal Scene and was formed with the vision of Three Guitar Extreme Metal and grew to play with every Metal Act that played or passed through The Greater Toronto Metal Scene. With members Tim Smith, Bryan Middleton, Lisa and Alex there was a force to be recon with, playing the local metal scene including a Battle of the Bands at Garry Turner’s bar called The Que Bar. With interest in labels and shows booked through Noel Peters the band had enough notoriety to have been lucky to play with the likes of Cryptopsy, and the late greats Woods of Ypres.

Through music challenges The Art of Hate began to move towards the Internet and became a band that spent many years in the studio writing 8 albums of material before meeting Kevin Talley. Symphonic Annihilation became the Art of Hates first publicly published CD and can be found on Reverbnation and BandCamp.  The Art of Hate is now a collaboration of musicians, producers and mixers that grow the music as the years go by. With 9 Albums, extensive Radio Airplay on In The Moshpit Radio CFUR, and Metal Messiah Radio, the single “Indo Sick Mutilation” has seen over a million combined views and trends on Reverbnation every week. The Art of Hate’s song “Indo Sick Mutilation” will appear on Sick Drummer’s music compilation Brutal Beatings. The Art of Hate and Kevin Talley will be finishing their latest single “Silence the Screams” and the full length CD “ Riddles of the Dead” in the near future.

You can find Garry Turner on with his book entitled “Dissecting the Art of Extreme Metal – Complete Guide to Playing Extreme Metal Guitar.”

The Art of Hate is:

Garry Turner – All Guitars

Kevin Talley – Percussion

Altar Egos:

Death Star Razorback – Vocals

The Android – Bass

The Hell Death Collective Loops – Samples/Loops


The Art of Hate Bandcamp Page:


The Art of Hate:

Garry Turner Facebook Page:

Dissecting the Art of Extreme Metal – Addresses:

Youtube Videos


Darkall Slaves is a Brutal Death Metal band created in 2005 in the north of France (Lille). They’ve been invited to play such famous Death Metal festivals as Germany’s Death Feast, Ludwigshafen Deathfest, Belgium’s Mass Deathstruction, UK’s Bristol Slamfest, Holland’s Neurotic Deathfest official after party (Little Devil), Antwerp Deathfest, Houten Deathfest, or share the stage with their renewed peers (Defeated Sanity, Gorgasm, Centurian, Cerebral Effusion, Kraanium, Wormed, Vital Remains, God Dethroned, Hideous Divinity, Carnivore Diprosopus, Epicardiectomy, Hate, Lividity, Sinister, etc.).

After ten years of existence, two EP and numerous gigs across Europe, Darkall Slaves signed on with Permeated records and released on October 2014 their first full-length “Transcendental State of Absolute Suffering”, an eight tracks bulldozer of massively intense and heavy Brutal Death Metal the US way, featuring Konni (Defeated Sanity) and Matteo (Indecent Excision, Neurogenic) as guest vocalists.

The featured track comes from our 2014 album, “Transcendental State of Absolute Suffering,” which was released by Permeated Records.



Depraved Plague are a four piece brutal death metal band from Cambridge, England. They take influence from old school death metal around the globe but give it a modern edge that gives them a sound unique to many other current UK bands of the genre. Without the use of effects they create an intelligent sound which isn’t over complicated and with quick changing tempos manage to sound almost catchy while remaining extreme.

Later in 2015 will see the release of their second full length album ‘Containment’. You can currently pick up the first album ‘Systemtic’, which was released through Contagion Records.

The featured track is “Severed,” from the upcoming album ‘Containment’.



Take old school death metal, add a healthy dose of rocking groove, accompanied by a pinch of thrash and round it up with a lot of melody – that’s what you get if you decide to get your eardrums kicked by Desdemonia. The quartet from Luxembourg prioritizes catchiness over technicality and still manages to come up with raw and vicious riffage at the right times. During their intense shows, Desdemonia also manages to create some moody moments with slower-paced, mellow, dynamic and atmospheric songs. Desdemonia never try to keep pace with changing trends but attempt to cut their own path instead.

Over the last 1 5 years, Desdemonia has released one demo tape and 3 albums (Infinity’s Regard, Same, Paralyzed & Existence), which were all critically acclaimed by the press. This gave the band the opportunity to play in pubs, clubs and festivals all over Europe. Thus, Desdemonia has already opened for many well known bands, such as Soilwork, Gorefest, Apocalyptica, Hail of Bullets, Mayhem or Krisiun, just to name a few.

Desdemonia is currently endorsed by Serpent King Guitars (by Henri Sattler, aka the Serpent King, frontman of the Dutch legends of God Dethroned).

“Of course, the BeNeLux quartet is not reinventing the wheel, but it lets it roll in all possible directions, without any limitations and with a lot of freshness” – RockHard Magazine

“Desdemonia will blow you away” – Legacy Magazine

“Existence is an album that sounds surprisingly mature, that needs to be heard in constant rotation and that never gets boring” –

“This death metal opus doesn’t need to hide behind the big names like Bolt Thrower & Co. It’s aggressive as well as groovy” – Eternity Music Zine

Desdemonia Are:

Tom MICHELS: drums

Tom DOSSER: vocals & bass

David WAGNER: guitar

Marc DOSSER: guitar & backing vocals








Multi-state death metal project GRUESOME was born out of guitarist/vocalist Matt Harvey and drummer Gus Rios’ mutual involvement with the Death To All Tour,  (Harvey served as frontman for the original mini-tour and Rios both performed “Baptized in Blood” and worked with Death To All drummer Sean Reinert on the following US tour where Exhumed filled in as support). After discussing and discarding the idea of putting together another incarnation of Death To All to focus exclusively on the first two albums, Harvey half-jokingly suggested that the pair write their own songs in intentional homage to Death. It wasn’t long before the idea gained traction, and the band soon had five tracks written. With Harvey writing in California, Rios recruited Possessed guitarist Daniel Gonzalez and Derketa bassist Robin Mazen to record the material in Florida, while Harvey tracked his vocals on the West Coast.

GRUESOME released a pair of single-song demos in 2014, and was subsequently signed by Relapse Records in June of that year, with a full-length release (recorded in Florida, of course) planned for early the next year. The result of those recordings would become the band’s debut full-length Savage Land, a truly gruesome slab of first wavestyled death metal released in April 2015. It’s clear from the song quality on Savage Land that GRUESOME is humbly determined to keep Death’s classic sound alive as faithfully as possible, and the critical reception for Savage Land has reflected the band’s dedication. Metal Injection called Savage Land “the advanced, dripping-rot-from-thecorners-of-a-coffin, putrid, vile death metal throwback that you’ve been waiting for,” while Exclaim declared that “The enthusiasm alone on Savage Land is awe-inspiring.”

With an all-star lineup and unmatched songwriting skills, GRUESOME is willing and able to propel the historical sentiment and sincerity of Death’s spirit into the present.


Daniel Gonzalez – Guitar

Matt Harvey – Guitar, vocals

Robin Mazen – Bass

Gus Rios – Drums



Intronaut’s new album, The Direction of Last Things, is, in their own words, “our most technical, brutal, catchy, and straight up fearless.” For a band that’s re-written the rules on technicality and brutality over the course of five albums—2013’s Habitual Levitations (Instilling Words with Tones) sent fans and critics alike in an Intronaut-rules-all frenzy—such a statement is either truth or insanity. We’ll side on truth. For a group of musicians that could go, well, anywhere musically, the decision to pummel and pound must’ve come from somewhere, however. “I really missed making records that not only thought outside the box, but also beat the shit out of you,” guitarist/vocalist Sacha Dunable confesses. “On the past couple records, I think we were really exploring some musical aspects that were experimental, melodic, and less of a primal heavy metal assault. It’s all part of the creative journey, so I still love all our records and those parts of our musical DNA, but personally I thought it was time we took our musical evolution and made it do 100 push-ups every morning.”

Intronaut’s other guitarist / vocalist, David Timnick, has a more holistic view of faster, harder, heavier: “I guess, we’re just still really in love with what we’re doing. We’re more focused and inspired than we’ve ever been. And we’ve grown and evolved so much together over the last decade that we’ve managed to overcome a lot of the obstacles often responsible for slowing bands down.”

Certainly, Intronaut aren’t indicating they’re winded or need to be put out to pasture. Formed in 2004 when Venus was in transit, Cassini rubbed nuts with Titan, and NASA’s Spirit and Opportunity landed on Mars, Intronaut—a term that means ‘inner traveler’—would spend the next decade writing, recording, and releasing genre-defying, category-destroying long-players, the first of which was 2006’s Void on the Goodfellow label. Soon after, the Angelenos caught the eyes and ears of Century Media, where they debuted with the incredible Prehistoricisms, and with it a mountain of acclaim from tracks like “The Literal Black Cloud” and video single “Australopithecus”. Over the next seven years, Intronaut would tour with Mastodon, Helmet, Between The Buried And Me, Tool, and Animals as Leaders, while also issuing widely lauded full-lengths in Valley of Smoke and Habitual Levitations (Instilling Words with Tones).

If Intronaut came out of the last decade with anything it’s that they’re known purveyors of the progressive. They’ve made a name for themselves through musical, lyrical, and artistic adventures, journeying into a multitude of styles, parlaying the best of their influences and their spirit animals into a force that’s immediately recognizable as Intronaut. Though labeling has its downfalls—‘progressive’, in terms of music, could mean analogous to Genesis, Pink Floyd, or Porcupine Tree—Dunable has a different view on the term and its possibly tenuous association to the band. “I think our definition of ‘progressive’ has always been different than most people’s. I consider anything with an innovative spirit

behind it to be progressive. It has very little to do with actual musical ability and everything to do with translating the insane noises in your head into music, and not deriving from something that exists already.”

“I suppose it’s supposed to have something to do with being musically forward-thinking,” Timnick adds. “And I guess that is the word to describe us, but it’s a pretty vague term that usually just means complex music with odd time signatures, musical unpredictability, etc. Which is honestly pretty accurate.”

As for The Direction of Last Things, it’s absolutely ‘progressive’ by Dunable and Timnick’s definition. Moored by uncompromising opener “Fast Worms”, mid-album stunner “The Unlikely Event of a Water Landing” and the expansive complexity of closer “City Hymnal”, Intronaut’s fifth long-player is likely the group’s best yet. It summarizes the accomplishments of the past with the vision of the present, where songs violently crash against towering walls of stone or coruscate brilliantly into streams of awesome. What’s particularly fantastic about The Direction of Last Things is that it’s memorable. Whether it’s the vocal melodies of “Digital Gerrymandering” or the unbelievable near-instrumental journey of “Sul Ponticello”, or the wicked riffs throughout the title track, Intronaut were careful to make the intricate and the sinuous a quick study.

“The prog side of us is about creating little ‘easter eggs’ for the listener to discover every time they spin the record, and not necessarily about flashy musicianship,” reveals Dunable. “Just like our favorite records growing up, it’s supposed to be challenging but still get stuck in your head.”

Unlike most studio sessions of the day, Intronaut didn’t spend inordinate amounts of time and effort pinning down The Direction of Last Things in the studio. They didn’t take weeks tuning a snare drum or days figuring out which shoelaces to wear while cutting the rhythm guitars. No, the Californians spent a grand total of four days, recording mostly as a live band, with producer/engineer Josh Newell at Clear Lake Audio. “We decided that we don’t need to spend three weeks in a studio obsessing over every minute nuance,” says Dunable. “The reality is that in that past, we’ve taken that approach, but then we go on tour and play all those songs tightly. So why not just write the songs, rehearse the hell out of them, and then just go play them in an awesome recording studio? Intronaut is an actual band who rehearses together regularly. We make up one collective musical brain. There’s no reason why we couldn’t just have someone set up some mics, hit record, and capture that. We ended up making our best sounding record in a third of the time.”

“We really wanted to capture what we actually sound like,” Timnick adds. “And we had been having trouble achieving that on our previous records, so it was time to try something different. We’ve always tried to be a true ‘live’ band, so this approach worked out well for us.”

The advantage of recording The Direction of Last Things expediently was that Intronaut could re-direct the budget to the mix. Which they did. They pulled in famed producer/musician/madman Devin Townsend to make Intronaut’s fifth full-length hit with heaviness and clarity. With Newell as producer/engineer and Townsend as mixer, songs like “Fast Worms”, “City Hymnal”, “The Pleasant Surprise”, and “The Unlikely Event of a Water Landing” sound just as vibrant and full on a set of earbuds as they do on a pair of stereo speakers.

But the most remarkable thing about Intronaut and The Direction of Last Things is that they continue to challenge. Not just themselves, but the boundaries of what it means to be heavy and what it means to be progressive. That Intronaut confront the mundane and the accepted so easily is equal parts talent and vision. “We have been a band for over ten years,” says Dunable. “At this point our influences have been mashed up in a blender for so long that I couldn’t even really tell you what they are anymore. All of that is just part of our DNA now, and Intronaut has become its own living, breathing organism that music flows out of naturally.”

Intronaut Are:

Sacha Dunable – guitar, vocals

Joe Lester – bass

Dave Timnick – guitar, vocals, percussion

Danny Walker – drums



LORD DYING hails from Portland, Oregon, a place overabundant with purveyors of the heavy riff. It’s also a region where the inhabitants are plagued with nerve and joint damage due to lack of sunlight, and a place where the gloomy weather becomes a product of the music itself. LORD DYING plays no small role in contributing to that vibe, as the band’s pained, pessimistic lyrics and bleak, sludgy riffs can attest to. Formed in 2010, the band’s members E. Olson (guitars/vocals), D. Capuano (bass), C. Evans (guitars) and R. Shaffer (drums) are all veterans of the heavy metal scene, having played in bands such as Black Elk, Portals, Dark Castle and Le Force.

Though the band might not focus on speed, LORD DYING’s career certainly got off to a fast start. After releasing a sold out 7” and a self-titled EP, the band quickly signed to Relapse Records and recorded their full-length debut with Sanford Parker (Yob, Rwake, etc). Summon the Faithless, a thrashy record that also placed emphasis on doom and groove, was hailed as one of the most impressive debut records in years, garnering acclaim from MetalSucks, New Noise, and many others. Following the album’s release, LORD DYING immediately hit the road and toured throughout North American and Europe, sharing the stage with the likes of Down, Unsane, Red Fang, Yob, Valient Thorr, Floor, Ghost, Corrosion of Conformity and Black Tusk. Along with appearances at renowned festivals like Roadburn, Phil Anselmo’s Housecore Horror Fest, Scion Rock Fest, Project Pabst and Stumpfest, the group quickly established itself as a pummeling, must-see live act.

LORD DYING’s relentless touring schedule and insatiable hunger for the ultimate riff brought the band back to the studio in late 2014, this time with producer Joel Grind of Toxic Holocaust, to record its sophomore full-length Poisoned Altars. Released in January 2015, Poisoned Altars proved that LORD DYING has matured well beyond its years and has grown into a titanic, fully developed metal band. The record was praised by numerous publications, including Metal Hammer, Metal Injection, Revolver and MetalSucks, who called the record “intensely teeth-gnashing, skull-pureeing metal.” Poisoned Altars has seen the band achieve the widespread recognition it deserves, and has established LORD DYING as one of the foremost sludge artists of the day.


Erik Olson – Guitar/Vocals

Don Capuano – Bass

Rob Shaffer – Drums

Chris Evans – Guitar



Progressive death metal outfit LURID MEMORY might seem like a newcomer to many, however that is simply not the case. This San Diego based quartet features current and past members of brutal death metal titans, GORTUARY and ex members of Paroxysmal Butchering. Their first studio opus has already been highly anticipated by both fans and media alike.

Lurid Memory can be looked at as a modern interpretation of the progressive death metal style formed in the early 90’s by bands such as Death, Cynic, and Atheist. The breath of fresh air that Lurid Memory provides to this genre invigorates the old sounds of their forefathers with heavier passages, relentless drumming, soulful leads, driving fretless bass guitar, and crushing vocals.

Their new EP, released on September 18th, is 5 tracks of their latest musical offerings. Featuring cover art by Spanish illustrator Raul Gonzalez (Morbus Chron, Skinfather, Deceased), “Dematerializing” was produced by Edward Talorda (DISGORGE) at DHQ in San Diego, CA. This E.P. also included special guest appearance by Travis Ryan (CATTLE DECAPITATION / MURDER CONSTRUCT)



Time flies fast and deals cruel hand. For death metal legends MALEVOLENT CREATION, however, Father Time is weak and feeble, his scythe a cane and his hourglass long broken. To wit: it’s been 24 years since The Ten Commandments shocked media outlets and found wide-spread acceptance in death metal’s ardent fanbase. Since then, the Floridians never gave in. Not to waning interest in the genre, not to black metal’s near-takeover of extreme metal, not to nü-metal’s commercial viability. No prevailing force—supernatural or otherwise—has diminished MALEVOLENT CREATION’s aggressive spirit and inexhaustible fire. Certainly, the three original members—guitarist Phil Fasciana, vocalist Bret Hoffmannn, and bassist Jason Blachowicz—didn’t think they’d still be writing, recording, and touring in a band when they formed in Buffalo in 1987, but their tenacity and perseverance over the years has shown dedication to the art of death. And all that comes with it.

“We’re meaner!” grins Fasciana wildly. “More pissed off and heavier than ever! This is a lot of years of aggression built up. This is MALEVOLENT CREATION 2015 not MALEVOLENT CREATION 1990! 2015 also brings a lot of new changes for MALEVOLENT CREATION.”

Change is, in fact, in the air. Not only have MALEVOLENT CREATION jumped over to Century Media Records after a three-album stint with Nuclear Blast Records, but former drummer Justin DiPinto also returns to the fold. The last time they crossed paths with DiPinto was on 2002’s barnstorming The Will to Kill effort. And last but certainly not least, MALEVOLENT CREATION have a new album, Dead Man’s Path, on offer.

“We are very happy to be working with Century Media,” Fasciana says. “It finally seems like we are working with a professional record company that has faith in us and is working hard to help us move forward. We are also working with new agents for different territories around the world, so we can stay busy touring and get to some countries we have not played yet or need to get back to. And the best part of MALEVOLENT CREATION 2015 is the return of former drummer Justin DiPinto. Our new album Dead Man’s Path came out better than expected and having Justin back in the band and around us really makes us a lot happier and more confident.”

Five years in the making, Dead Man’s Path demolishes the competition—veteran and newcomer alike—with 10 lethal blasts of aggressive death. According to Fasciana, there was no master plan with the group’s twelfth full-length. With no deadline or label pressure, the principle songwriters just let the music come naturally. Half of Dead Man’s Path was written prior to DiPinto joining. The other half was written in week after DiPinto drum position solidified. In fact, with the band in full force, the songs poured out. One explosive track after the other. But MALEVOLENT CREATION aren’t about double albums or long musical journeys. From The Ten Commandments to 2010’s Invidious Dominion, they come in fast, make a quick kill, and get out while the blood’s still fresh. Dead Man’s Path is no different.

“Instead of listening back to hundreds of old riffs and ideas, we just used the music we put together in that rehearsal room between the three of us—DiPinto, (guitarist) Gio Geraca, and myself—and kept what was written in that first week of intense jamming and demo making. And I’m glad we did. And I’m also glad that we still have all the other music and ideas still on file and can record new material whenever is needed. Just good to know we still have it all and can go back and listen to the music we didn’t end up putting on this new album.”

From opening, theme-setting title track through “Face Your Fear”, Dead Man’s Path is undoubtedly MALEVOLENT CREATION. In many respects, the group’s newest is also one of their best. Dead Man’s Path is part of a proud heritage of vicious excellence spread across many years—The Ten Commandments, Retribution, Envenomed, and Warkult, all untouchable stanchions of death the brutal way. Indeed, many bands have tried to copy Fasciana’s violent thrash-informed death, but none have come close. Dead Man’s Path creates a wider, deeper gulf between MALEVOLENT CREATION and their sycophants.

“As soon as the first song fucking starts makes me grin!” laughs Fasciana maniacally. “Because I know when people play this album they are in for one hell of a ride. I think this album has a little bit of everything we have covered over the last 25 years. We have never tried to reinvent the wheel or claimed to be the most brutal death metal band ever. We know what works for us and our limitations. We are very comfortable with the writing formula we have become accustomed to. We are simply trying to write good, heavy songs. I’m happy because we still have a lot of fast and speedy stuff going on and we were also able to pump the brakes when it felt right and write some slower and grinding music. There is definitely a good mix of aggression within the songs and none of them sound like the last. It’s a great running order as well.”

Lyrically, Dead Man’s Path is commentary on our own brutal reality. Written by and through the lens of Hoffmann, the lyrics on MALEVOLENT CREATION’s newest reflect mankind’s relentless cruelty rather than valorize it. Songs like “Corporate Weaponry”, “Extinction Personified”, and “Blood of the Fallen” aren’t of legend or folklore—no zombies or mythology here. Rather, they’re straight out of nightly newscasts or horrific stories from social media feeds. There’s also a personal side to Hoffmann’s cutthroat lines.

“Bret writes about reality,” Fasciana says. “Whether it’s about himself or what’s happening in the world it’s always real. Bret’s lyrics may always have a theme throughout each song that deals with death in one way or another and it works for him and our music. I know he does write a bit about his own life experiences which are probably things that piss him off in this world and, again, it fits with the music perfectly. We never have to tell him what to write about or how to sing anything. We may have an idea or suggestion here and there but for the most part Bret just does his own thing.” If controversy is a dish best served cold, MALEVOLENT CREATION are no doubt well fed. Whether it’s Hoffmann’s no-holds-barred lyrics or things current and ex-members have said in personal conversations and to the media, Fasciana and team have had to defend their words and positions on matters delicate and thorny. The past and the present haunt MALEVOLENT CREATION, but like their music, the Floridians aren’t calling it a day without a fight.

“Did we have what is considered a racial slur in one of the lyrics to one of our songs 21 years ago? Yes! We said the ‘n’ word in a song on our fourth album without thinking too much about it. It rubbed some people the wrong way. Are we sorry for doing that? Yes! Did we apologize for it 20 years ago a hundred times? Yes! Now with the Internet and the comments anyone can make about anyone over the last 18 years or so. It’s ridiculous how a word in a song could still be a problem when you see and read the insane shit people and bands say within their songs, lyrics and song titles.”

“We are just a metal band with no agenda other than metal,” continues Fasciana. “We have been playing music and touring around the world now for 25 years. We have toured with 100s of bands, worked for or with many, many different agencies and record labels and people from different countries everywhere that are all different races, religions, and genders. If anyone has half a brain and was smart enough to ask anyone we have worked with in all these years if we were racists or some other idiotic, childish remark you will get the same answer from anyone that actually knows me or the members of my band.”

With all that behind MALEVOLENT CREATION, focus is now on Dead Man’s Path and the future. On the first as well as the 100th listen, it sounds like a band revitalized, re-energized, and ready to ravage. Dead Man’s Path was produced by MALEVOLENT CREATION and Dan Swanö (Aeon, Bloodbath, Asphyx) with mixing duties also being handled by Dan Swanö. The team ensured songs like “Soul Razer”, “Resistance is Victory” or “Fragmental Sanity” are as punishing digitally as they are pumped through a stereo, something MALEVOLENT CREATION needed to stay vital in an ever-changing sonic landscape.

“Just like any album I want fans to be happy and love the music as much as we do,” Fasciana admits. “We are fans of music and write music we want to hear. I know what we play isn’t for everyone and that is fine. But what I do know is that we are a bunch of metalheads from the ‘80s. We are what we are. We are not going to change. If people understand that, then great! You have to accept change these days even though it is different and difficult at times. At the end of the day we are still doing what we love. And that is playing punishing, relentless death metal.”

MALEVOLENT CREATION are: Phil Fasciana, Bret Hoffmann, Jason Blachowicz, Gio Geraca, and Justin DiPinto.



Founded in the swamplands of South Florida, MARUTA have been blurring the lines between grindcore and technical death metal since their inception in 2005. Approaching their music with a present lyrical bent and a meticulous approach to songwriting, the band have always flown somewhat under the radar considering the quality of their recordings and performances. MARUTA’s two full-lengths, 2008’s In Narcosis and 2011’s Forward Into Regression (Willowtip Records), were both well-received and widely praised by publications such as Blabbermouth, MetalSucks, and Decibel, with Forward Into Regression even garnering a 9/10 score in the latter’s magazine.

To the dismay of many fans, MARUTA broke up in 2011 following a slew of lineup changes, but they didn’t stay silent for long – in 2014, the band reformed with a new roster and signed to Relapse Records, the perfect fit for their maniacal brand of forwardthinking deathgrind. That signing finally drew more long-warranted attention to MARUTA, and the following years saw the band appear at multiple festivals including the inaugural Southern Darkness Fest in Florida (2014) and Obscene Extreme Fest in the Czech Republic (2015).

The band’s 2015 Relapse debut Remain Dystopian sees MARUTA reassuming their upward trajectory of extreme music innovation, pairing their ever-more savage compositions with an increasingly nihilistic worldview. With Remain Dystopian, MARUTA have finally gained recognition in the larger metal world, receiving positive coverage from a wide array of publications including Terrorizer, which called the album “the work of a well-oiled machine” in its 8/10 review. The modern world may be falling to pieces, but if it inspires MARUTA to make music this good, it’s ok if it stays that way forever.


Mitchell Luna – Vocals

Eduardo Borja – Guitar

Mauro Cordoba – Guitar/bass

Daniel Morris – Drums



Rising like the magical phoenix from the ashes of Decrypt, Moistened Disciples were spewed forth into a world of unbridled deception in 2005. Driven by sexual frustration, they composed songs that would not only disgust the opposite sex but alienate the menfolk of the so called heavy metal underground. And when these men were talked into releasing their sporadic thrusts of anger into the sonic atmosphere they understood the road ahead would not prove smooth. But did they prove smooth? Absolutely.

Penetrating the new digital economy driven metal music scene with furious rigor and vigor, they would sniff out all believers and crush them like microscopic parasites. These three boisterous boys are about to get biblical on believers. Stop Praying, No One’s Listening. The Golden Age of Insertion is upon us.



Justin ”JUICE” Wallace -vocals

Brad Vanderzee -drums

Zach ”ZG KNOCC OUT” Gheaja -guitar


From the East Anglian region of the UK, OBSCENE ENTITY features members of SHRINES and TERRA that forges together elements of Grind, Death and Black metal to create a multifarious manifestation of extreme music greater than the sum of its parts.

In 2012, founding members Matt Adnett (guitars/vocals), Luke Braddick (drums), and Calum Gibb (bass/vocals), released Obscene Entity’s self-titled début E.P. The record helped to quickly establish them as a formidable presence within the United Kingdoms underground circuit, along with the raw and fiercely delivered live shows they performed to promote it, landing them supporting slots for bands such as Napalm Death, Kraanium, Anaal Nathrakh and Voices.

In late 2014 recording for the début full-length album was completed, and sent to be mixed and mastered by Dan Abela, whose production talents were responsible for both Voices albums and that of the Antichrist Imperium. The resulting product ‘Lamentia’, is a loosely-based concept album of the fragility of the human mind and states of psychosis experienced through both subjection and self-infliction.

Band: Obscene Entity

Track name: Euphoric Vanity

Album name: Lamentia

Released through Tridroid Records Nov 27th.

Lamentia credits:

All music and lyrics by Obscene Entity

Matthew Adnett: Guitars and Vocals

Luke Braddick: Drums

Calum Gibb: Bass and Vocals

Recorded with Steve Long

Mixed and Mastered by Dan Abela

Artwork: Luke Braddick.



Hailing from Chicago, Illinois, SENTENCED ON SUNDAY combine the precision of thrash, the brutality of death, and some pure hardcore aggression, resulting in a relentless onslaught of metal music. Formed in 2011, SENTENCED ON SUNDAY is comprised of vocalist Mark Alexander, Guitarists Ed Brongiel & Bill Fisher, and drummer Matt Bloomquist. Blending various extreme metal flavors, SENTENCED ON SUNDAY is sure to please fans of all genres of extreme metal.

Here is a link to our just released song and lyric video:

S.O.S Are:

Mark E Alexander – Vocals

Bill Fisher – Guitar

Ed Brongiel – Guitar

Matt Bloomquist – Drums



The beast called SKINLESS was brought forth in 1992 by guitarist Noah Carpenter with one goal: to be the heaviest band around. SKINLESS play brutal death metal with a heavy and catchy groove, influenced by pioneers such as Obituary, Suffocation, Broken Hope, Deicide, and Cannibal Corpse. After a variety of personnel changes and the release of two demos, SKINLESS established a solid, dedicated lineup in 1997: Noah Carpenter on guitar, Sherwood Webber on vocals, bassist Joe Keyser, and Bob Beaulac on drums. This version of the band would later become known as the band’s classic lineup.

In 1998, SKINLESS released their full-length debut Progression Towards Evil, which stunned the underground, showcasing the energy that the band had become known for via its intense live performances. An independent release, Progression Towards Evil received frenzied acclaim the world over and saw remarkable sales. A deal with Relapse Records ensued and three more bludgeoning platters of death metal were served up between 2001 and 2006: Foreshadowing Our Demise, From Sacrifice To Survival, and Trample The Weak, Hurdle The Dead.

Despite a few lineup changes during that period the band remained as brutal and busy as ever. SKINLESS toured the globe extensively in support of these offerings and gathered a growing horde of metal miscreants. Besides their recorded output, SKINLESS have also had the pleasure of defiling stages around the Earth with Slayer, Pantera, Slipknot, Shadows Fall, Exodus, Overkill, Morbid Angel, Suffocation, Dying Fetus, Six Feet Under, Misery Index, Deicide, Immolation, Origin, Gorguts, Hatebreed, Chimaira, Mortician, Incantation, Obituary, Cannibal Corpse, Entombed, Vader, Cattle Decapitation, Brutality, Grave, and many more.

After several years of laying low, SKINLESS returned to action with their classic formation in 2013 and also added a second guitarist, Dave Matthews, into the mix. A fifth full-length album, and the band’s first in eight years, detonated via Relapse in June 2015. With Only The Ruthless Remain, SKINLESS have returned stronger than ever with a prime slab of brutal death. Chock full of their signature, skull-crushingly heavy grooves and technical, blasting severity, Only the Ruthless Remain has already seen widespread positive reception from publications like Decibel, MetalSucks, and Terrorizer, and is sure to be one of the most talked about death metal albums inyears. SKINLESS are back, and they’re as ready to flay you alive as they’ve ever been!


Sherwood Webber -Vocals

Noah Carpenter – Guitar

Dave Matthews – Guitar

Joe Keyser – Bass

Bob Beaulac – Drums



Cult Norwegian extremists TSJUDER return once more to strengthen their legacy with the new album ‘Antiliv’. Four years in the making, ‘Antiliv’ (translating roughly to Anti-Life) is a relentless, full-force blast of satanic black metal. Throat-shredding screams and scathing guitar work erupt violently from the void with ill intent. TSJUDER are torch-bearers of the true black metal ethos, and ‘Antiliv’ is the ultimate statement of imperial black metal force. 

TSJUDER deliver Norwegian Black Metal in the classic raw and rattling style, yet without ever giving in to the temptation of wallowing in nostalgia. On their fifth full-length ‘Antiliv’ not a single note has to be dyed black, because the roots that are clearly showing are all glistening with the abyssal musical non-colour pioneered by BATHORY, CELTIC FROST, and VENOM as well as those Northern masters MAYHEM, DARKTHRONE, and EMPEROR. The venomous and vicious throat rendering by bassist Nag and guitarist Draugluin entwines with thorny, relentlessly driving riffs and an infernal rhythmical ice storm unleashed by drummer Anti-Christian over majestic melodies. When the Norwegians returned with ‘Legion Helvete’ (2011), it became obvious that they had honed their songwriting to razor sharp perfection since splitting up after the release of their live DVD ‘Norwegian Apocalypse’ in 2006. Founded in the year 1993 by Nag and guitarist Berserk with Draugluin joining soon after, TSJUDER quickly established a strong reputation within the underground scene through their first EPs ‘Throne of the Goat’ (1997) and ‘Atum Nocturnem’ (1999), which was originally conceived as a demo. The Norwegians’ debut album “Kill for Satan” (2000) created general attention and critical acclaim that was strongly enhanced by the following releases “Demonic Possession” (2002) and “Desert Northern Hell” (2004). Now TSJUDER return with an impressive demonstration that they are still growing stronger and the hellishly fierce masterpiece ‘Antiliv’, which the band modestly describes as “raw and uncompromising black metal”. No post, no progressive, no whatever!