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Dead And Dripping is back with another album of mind-warping, reality-deconstructing music. One-man crew Evan Daniele, who was already playing everything on the albums so far, has gone ahead and even created the artwork for this album that manages to replicate the intricate nature of the music along with some kind of hallucinogenic quality that it induces. The music is often slower, deliberate, as if to create a hypnotic effect aided by use of repetition, and with that the songs can go on for as long as nine minutes without seeming cumbersome as is almost always the case with the brutal death metal subgenre where lengthy songs go.

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Australian death metal titans Depravity emerge after a gap of five long years. Having a flawless and consistent discography, they pick up from where they left off ensuring that things remain that way as they proceed to add more nuance and colour to their brand of music on their latest album titled "Bestial Possession". Maintaining the same line-up, they are able to retain their sound while fleshing out their compositions, proving that they can not only rampage with abandon at will but also showcase their musicianship in a more controlled environment.

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"Only a year after the release of their critically acclaimed "The Duality of Decapitation and Wisdom" album, Veilburner are returning with their eighth full-length album, titled "Longing for Triumph, Reeking of Tragedy."

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Following a sensational demo in "Lutum", Costa Rican death/doom metal band Perishing boasting members of Astriferous, Mortual, Necroferum, etc. in their lineup, have returned with their much awaited debut full length. It's an extension of their style of playing slow, torturous, dread-filled death/doom metal where every note carries weight and with it deathly implications. A fetid stench pervades the entire proceedings, which is overpowering when combined with the sickly tunes and vocals lingering in the air as if emanating from beyond the grave. The entire experience is morose, sickening, and yet strangely comforting just because it is done so well. The music transitions beautifully from the ponderous doom trudges to the trotting death metal parts without losing its asphyxiating grip on the listener, and just as smoothly eases back into the slowly churning maelstrom of death. Maintaining a suitably organic sound and being selective with their tunes to create the best impression, Perishing have created an album that fans of this kind of punishing, slow death/doom metal music will find impossible to resist.

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Unheralded death metal heroes from Portugal, Undersave, have been trying to carve their own path and every half a decade or so we get an album that is a huge step ahead from the previous one. And while their previous album is already considered to be a significant one, their new album displays a marked progression from it without completely abandoning the core sound. "Merged in Abstract Perdition" is a masterful album that is at once dark, dissonant, and atmospheric.

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Enragement from Finland are playing brutal death metal that's humongously heavy and also incredibly varied. Not too unlike their label mates Cutterred Flesh, they are borrowing elements from associated styles and mixing it all up. The result is an invigorating, powerful expression that ticks all the boxes. Their brutal death metal isn't the kind where you hear one song, you get the gist of the entire album because they're all just variations of the same rigid song type. Enragement in fact take the effort to approach songs differently each time, intermingling stirring melodies with heaving slams and everything in between.

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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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Floating from Sweden are finding increasingly impressive ways to enrich death metal music with progressive and post punk influences. While their previous release turned heads, this new one is far more refined, confident and accomplished. The primary elements have their place in the music with none of it getting dislodged by the dominance of the other and that's where the beauty lies - there's a subtlety, an emotional fragility that comes through in death metal music, which usually sounds too tough and overbearing for the most part.

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Technical death metal band Eschaton return after a gap of six years with a reinvigorated, star-studded line-up that undoubtedly elevates their sound to hitherto unexplored heights. They have none other than Christian Münzner formerly of Obscura and Necrophagist accompanying the band founder Josh Berry on guitars. For the vocals, they have enlisted the services of Mac Smith of Apogean and Abyssalis and for the bass, they have brought on Scott Bradly from Inanimate Existence while Darren Cesca of Pillory and formerly in Deeds of Flesh and Arsis continues to hold down the fort on drums.

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