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Demiurgon whip up a storm almost literally with their kind of ferocious, unbridled death metal. Hurtling towards the listener at ridiculous speeds, it stirs up a variety of emotions usually of the violent kind. Mostly though, there is sheer trepidation listening to the forceful nature of their music, and strangely, at the same time an innate sense of awe witnessing the control they have over the entire catastrophic event. Having over a decade of experience, they have cultivated the art of channeling the raw energy into writing satisfyingly long compositions marked with numerous variations and coming with up incessantly buzzing, catchy and memorable albeit inevitably head-imploding riffs. After all, this is pure death metal on steroids, fanned by brutal and technical doses to attain monstrous proportions. It's the kind of music a death metal fan can't dislike - it's simply dialled up to a fiery level here, backed by years of songwriting expertise and delivered like a punch to the face.

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After astounding tech death releases from Fleshbore and Eschaton on the label this year, there's the eagerly anticipated debut full length from Unaligned to look forward to. Once again boasting of a celebrated lineup featuring members of Withered Throne, Demon King, Fleshbore and others, Unaligned offer a blackened and comparatively more atmospheric take on the technical death metal style. Meticulously written and impeccably executed, their music has an epic flair which goes hand-in-hand with their undulating pattern showcasing the brilliant contrast between the faster, scathing parts and the smoother, melodic breaks. The alternating vocal delivery here too is fitting without being overpowering in any way.

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"Prime" is the long awaited follow-up album to 2021's "Zenith" and Imperialist have only spent the years honing their craft while keeping the death-touched sci-fi black metal sound intact. The songs are tighter and more intricate than ever before, reinforced further with thrash metal elements, and they showcase the darkness and menace displayed on the previous EP but also the maturity in songwriting, allowing piercing leads and shards of melodies and to shimmer through and liven up the proceedings lest they get too bereft of earthly feelings. Mixed and mastered by Dan Swano, the sound is kept clear and sharp, ensuring that no facets of their throbbing, undulating music are lost in the process.

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"Formless Ruin of Oblivion is the second release from Massachusetts duo Hexrot, combining a dense stylistic mélange of death, black, and thrash metal with inventive electronic experimentation and a keen sense of structure. The 35-minute piece flows continuously across 7 tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas. Seamlessly interwoven, a bed of modular synthesizer and other digital flourishes run the gamut from clangorous and industrial to warm and ethereal. The immediacy of a live studio recording gives its performances authenticity and power, but careful production ensures you’ll still be discovering new things multiple listens in. To our most fully realized expression to date, we bid you welcome."

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Thorn has a knack of churning out punchy, rotten death metal hymns rife with some nasty, lurching grooves. The album will have the listener rocking back and forth in its asphyxiating grasp like a pin-pricked voodoo ragdoll. The stench of sickness is thick and pervades the entire recording. Brennen has come up with meatier, denser, chuggier songs on this record while retaining the band's primal essence and there is more death metal than doom found on this recording. There are still moments where gleaming leads come in and brighten up the proceedings but it remains a dark, fetid and glutinous affair through and through. The corpulent grooves stand out the most and form the bulk of this recording. If you like the idea of death metal sounding massive, ponderous, and packed with heaving, earth-rumbling parts, this album is most certainly meant for you.

For fans of - Mortician, Rottrevore, Fumes, Wharflurch, Fluids, Intestine Baalism, Retching.

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Haxprocess are playing incredibly heavy death metal music - leaden, thick and dark, and are somehow attempting to go progressive wielding that sound. It's like Morbid Angel covering The Chasm songs under the influence of Blood Incantation. This is but a vague comparison just to get some idea of what this ambitious band is trying to do over here. It's death metal through-and-through but they're doing so much with it, it would bring a tear to any classic fan of the genre. They insist on having only epic songs averaging 10 minutes; the album has only four songs and it lasts for just as long as a normal album would. The music however is relentless in its barrage of gargantuan otherworldly riffs, what with the ever-changing patterns and combinations, albeit delivered in a comfortable pace so that everything can be registered for posterity. It's an album that can withstand endless listens, offer everything a death metal fan would want and yet do so much more than an average album would because of their constantly evolving music that manages to remain engrossing as well. This is as epic as a death metal album can possibly get without letting go of any of the heaviness that's an inherent part of the band's sound over here.

For fans of - Morbid Angel, Blood Incantation, The Chasm, Immolation, Atvm, Atheist, Felgrave, Typhonian.

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Misanthropy offer a refreshing raw, frantic and visceral approach to the tech death style. Instead of playing safe and adopting the same safe predictable formula used by the established bands, they're carving their own path and going about the style in their own unconventional manner, skittering off without prior warning and swerving violently and just doing things seemingly at random but mostly at break-neck speed.

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Swedish death metal veterans Paganizer only seem to get better with age. Where most bands mellow down or start repeating themselves in a mechanical way, Paganizer's music has increasingly become more nuanced. They are able to express themselves far more effectively, both when swinging the axe and also when conjuring up the soul-tearing melodies out of thin air. They're stepping out of their own shadow and imbuing their music with emotive tunes which work exceedingly well because of the contrast with the heavier parts. It's naturally done too, part of taking the sound ahead rather than forcibly altering it.

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