Tag Archives: death metal

Veilburner – All That Glimmers Is Gloam (Transcending Obscurity Records)

Posted by John Lithium on

Label Description: “In less than a year of releasing “Longing for Triumph, Reeking of Tragedy”, Veilburner are back to announce their ninth album, “All that Glimmers is Gloam”.

The tone of this album signals that tragedy reeks more than triumph is longed, where every pursuit becomes a maze leading toward another dissolution.

Ruin stands as a foundation that no longer supports awakening—it merely reflects the forms that once gave it meaning.

“All that Glimmers is Gloam” pits the listener as judge and jury, bearing witness to a deposition of spiraling madness—a testimony mired in the bog of counterfeit gnosis, orchestrated amid Mephisto’s instrumental haunts of melodic dissonance and Chrisom’s séanced howls, each reverberating through a theatre of fracturing sanity.

The labyrinth reveals itself as a scaffold of golem-like perception; knowledge fractures into paradox, and identity disperses into indistinguishable voices. Here, what glimmers is not illumination, but twilight; not revelation, but its reflection. Standing before the final threshold, the mirror of the self shatters, revealing the shape of many within the silhouette of none.”

Genre: Avantgarde Death/Black Metal

For fans of: Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, Akercocke

Line up:
Mephisto Deleterio: Music and production, Vocals
Chrisom Infernium: Vocals, lyrics, and album design

Cover artwork by Luciana Nedelea


PRESS:

► “yet another mind-blowing Veilburner spectacle” – No Clean Singing
www.nocleansinging.com/2026/08/10/an-ncs-premiere-veilburner-of-godslave-and-blood-mortar


► “this is strongly and convincingly among the top rung” – Everything Is Noise
everythingisnoise.net/reviews/veilburner-all-that-glimmers-is-gloam


► “both utterly bewildering and fascinating” – Metallerium 9/10
www.metallerium.com/veilburner-all-that-glimmers-is-gloam-2026


► “This is truly cinematic gold.” – Zephyr’s Odem 8.9/10
www.zephyrs-odem.de/reviews/detail/veilburner-all-that-glimmers-is-gloam-2026-15612


► “Veilburner once again showing that there are no boundaries, and that’s fucking terrifying” – Metal Epidemic 4/5
www.metalepidemic.com/veilburner-all-that-glimmers-is-gloam


► “a darkly psychedelic and transcendent aural experience that delivers on every front” – Head-Banger Reviews
headbangerreviews.com/2026/09/12/veilburner-all-that-glimmers-is-gloam


► “absolutely mind-bending Blackened Death” – Drako’s Death Metal News and Reviews 8.5/10
www.facebook.com/groups/943569489409806/posts/2556276301472442


► “listeners are left precisely where they started: wandering over unstable ground, approaching an unknowable threshold” – Toilet ov Hell
toiletovhell.com/track-premiere-veilburners-golgothic-holocaust


► “delights in its amorphous, and utterly bewildering nature” – Ghost Cult Mag 8/10
ghostcultmag.com/album-review-veilburner-all-that-glimmers-is-gloam-transcending-obscurity-records


► “its richness requires multiple listens to fully grasp it” – Acta Infernalis 80/100
actainfernalis.com/2026/10/12/review-3465-veilburner-all-that-glimmers-is-gloam-2


► “The atmosphere is thick, the riffs are unsettling, and the whole thing feels like being lost in a maze with no exit” – Metal Eclipse Reviews
metaleclipsereviews.com/2026/07/26/veilburner-all-that-glimmers-is-gloam



Main Store: tometal.com
Bandcamp: transcendingobscurity.bandcamp.com
Europe Store: eu.tometal.com
US Store: us.tometal.com
Indiemerch Store: transcendingobscurity.aisamerch.com

Group: facebook.com/groups/transcendingobscurityrecords
Facebook: facebook.com/transcendingobscurityrecords
YouTube Channel: youtube.com/TranscendingObscurity
Instagram: instagram.com/transcendingobscurity
Twitter: twitter.com/transcendingobs

Band Facebook: facebook.com/veilburner
Band Instagram: instagram.com/veilburner_official

Lugubrious Garment – In The Wide Vale Of Uncreated Night (20 Buck Spin)

Posted by John Lithium on

Label Description: Following the ferocious declaration of intent laid down by 2025’s Demo MMXXV, Milan-based musician Gabriele Gramaglia offers the first full-length manifestation of Lugubrious Garment, ‘In The Wide Vale Of Uncreated Night’. Known for his work with Cosmic Putrefaction, Vertebra Atlantis and numerous other entities operating within the more adventurous reaches of extreme metal, Gramaglia established Lugubrious Garment as an outlet for a more ravenous and instinctive strain of Death Metal; one driven by brute momentum, frenzied aggression and an uncompromising rawness. On ‘In The Wide Vale Of Uncreated Night’ that initial impulse erupts into a considerably more formidable and fully developed beast.

While retaining the layered, multifaceted songwriting characteristic of Gramaglia’s broader body of work, Lugubrious Garment directs that complexity toward outright pandemonium. Gritty, abrasive guitars churn through pummeling and intricate rhythmic contortions as tortured vocals howl from within the tumult and cascades of shrieking lead guitar slash across the album’s fractured landscape. Yet beneath its seemingly unrestrained violence lies a meticulously engineered attack: riffs twist and collide at excessive velocity, tempos lurch between hammering force and sudden acceleration, and flashes of classic Heavy and Speed Metal emerge through the wreckage before being swallowed by the surrounding maelstrom.

‘In The Wide Vale Of Uncreated Night’ thrives upon this collision of precision and savagery, harnessing technical ability as another weapon in an arsenal built for maximum destructive force. Lugubrious Garment channels the restless imagination behind Gramaglia’s other work into something noticeably more feral and antagonistic; a sustained barrage of serrated riffing, relentless battery and deranged metallic energy. ‘In The Wide Vale Of Uncreated Night’ tears open the gates on Lugubrious Garment’s first full-length campaign with a frenzied Death Metal assault built to leave nothing standing in its wake. 

Gabriele Gramaglia: Guitars, vocals, bass, synths, sound design
Yr-nhhngr: Additional vocals here and there throughout the record
Giorgio Trombino: Additional solo in the ending section of “Transient Wounds, Spiritual Wilt”
Andrea Morgan: Additional violins and violas in “…And Therein Plant unto Their Souls Asunder”
and in “Eternal Scars and Imperative Backfires”
Claudio Invidia: Session drums

Artwork crafted by the refined mastery of Mariya Popyk.

Written, recorded, mixed and mastered between fall 2025 and spring 2026 by Gabriele Gramaglia in Crepuscular Sound Studio.

Sigh – Goh-Ka (Peaceville)

Posted by John Lithium on

Label Description: THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH’S MIKAEL ÅKERFELDT.

Japanese metal pioneers Sigh formed in 1989/1990. Their genre-classic Black Metal debut ‘Scorn Defeat’ arrived in 1993, and with a subsequent journey through the strange and the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (and first for Peaceville Records), ‘Shiki’. This was followed by the remaking of their ‘Hangman’s Hymn’ album as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw the World’s End: Hangman’s Hymn MMXXV’ (2025).

Considered as somewhat of a natural evolution, yet an even more diverse leap over the already compositionally and dynamically accomplished ‘Shiki’ opus, Sigh returns with ‘Goh-ka’; a new highlight of atmosphere, technical mastery, and meticulously arranged epics of metallic grandeur.

Main-man Mirai Kawashima notes this as being as equally personal an album as ‘Shiki’, both musically and lyrically. From a musical perspective, if you were to place the main ingredients of Celtic Frost, Voivod, Black Sabbath, horror movies and Japan into a cauldron and stir it, you will get ‘Goh-ka’. Numerous additional spices such as psychedelic rock, prog rock and classical music are also evident over the album’s close to one-hour duration.

The album title ‘Goh-ka’ has a triple meaning, being: 業火 infernal fire scorching sinners, 劫火 a huge fire that burns down the world at the end of time, and 業果 karma.
The primary theme permeating the album is Kuso-zu; a series of Buddhist paintings or illustrations depicting the nine stages of a human body’s decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It openly shows the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later. And Kuso-shi is a poem based on these paintings. The artworks on the cover and in the booklet of ‘Goh-ka’ are therefore Kuso-zu themselves.

Joining Mirai Kawashima and Dr Mikannibal along with guitarist Nozomu Wakai, are Frédéric Leclercq (Kreator) on bass, plus renowned US drummer Mike Heller.

Among the additional contributors to the album, Mikael Åkerfeldt of Opeth notably delivers a special guest guitar solo on the track, ‘Unputenpu’.

‘Goh-ka’ was recorded across multiple studios, and once again mixed and mastered by Lasse Lammert at LSD studios in Germany. 

Ænigmatum – Infinitude’s Passage (20 Buck Spin)

Posted by John Lithium on

Label Description: ‘Infinitude’s Passage’ marks the third full length statement from Portland’s death metal seers Aenigmatum. Taking the intricate mastery of previous album ‘Deconsecrate’ as a point of departure, the band’s union of technical precision, dark melody and unrelenting force draw us ever further into a world where revelation and annihilation become indistinguishable.

Sudden turns, fractured rhythms and spiraling harmonies color a landscape of seemingly elaborate complexity, yet Aenigmatum are serving a larger, deeper structure with an exacting sense of purpose and focus. Frenetic eruptions of speed give way to passages of melodious clarity and dissonant turbulence allowing the compositions to remain in constant motion and expand idiosyncratically upward and outward.

Cerebral without sacrificing physical impact, majestic without surrendering menace and progressive without loosening its vigorous command, ‘Infinitude’s Passage’ rejects easy categorization within Death Metal’s exceedingly vast parameters. Its visceral impact, incandescent melody and aura of perpetual discovery places Aenigmatum at the threshold of the boundless.

Kelly McLaughlin – Vocals/Guitar/Bass Clarinet
Eli Lundgren – Guitar
Brian Rush – Bass/Backup Vocals
Pierce Williams – Drums/Synths/Backup Vocals

Patrick Corona – Saxophone
Danny Quetzal – Backup Vocals

Drum recording engineered by Charlie Koryn at Elektric City
Pre-production and guitar/vocal recording engineered by Pierce Williams
Bass & Bass Clarinet recording engineered by Brian Rush
Saxophone recording engineered by Patrick Corona

Reamp, Mix, and Master by Colin Marston at Menegroth, The Thousand Caves
Additional reamping by Keith Merrow at Merrowsound Studios

Artwork: Daniel Hermosilla @nox_fragor_artworks
Liner Art: Marcus Kempton @artwork_from_the_graveyard_pnw
Logo: Connie Wang @iconartisty
Layout: Matt Oien

Primary Composers:
“Pitiless”, “Architects”, & “Passage” by Williams
“Inseverable” by Lundgren
“Nexus” by McLaughlin.
“Nocturne” by Rush
All lyrics by McLaughlin

Funebrarum – Beckoning the Void of Eternal Silence (Pulverised Records)

Posted by John Lithium on

Label Description: FUNEBRARUM “Beckoning the Void of Eternal Silence”

New Jersey death metal veterans FUNEBRARUM have announced their long-awaited third full-length album, Beckoning the Void of Eternal Silence, set for release on May 29th via Pulverised Records. Marking the band’s first new material in seven years, the record sees the revered underground outfit return with their most fully realized and crushing work to date, reaffirming their status as torchbearers of classic, doom-laden death metal steeped in the spirit of the late ’80s and early ’90s.

With a perturbed atmosphere writhing around the entire record, the pulsation of which “Beckoning The Void Of Eternal Silence” breeds is an expertly calculated Deathdoom craftsmanship and yet emitting at times a surreal bridging between extreme genres in orchestra-like precision. The core DNA of FUNEBRARUM has remained intact albeit the exalted darkness have shaped themselves to be cut from a different cloth.

Track List:

1. The Arrival (Intro)
2. Beckoning the Void of Eternal Silence
3. Sa Nagba Amāru
4. Through the Barren Halls of Grieving Emptiness
5. Into Dark Domains
6. Ancestral Manor (Intro)
7. Anhela Odor Mortuorum (The Adepts)
8. From Rotting Burial Shrouds
9. Turning the Stones of Torment
10. The Whispering Cathedral
11. Epilogue 

Daryl Kahan – Lead Vocals
Samuel Osborne – Rhythm Guitars
Phil Tougas – Rhythm & Lead Guitar
Winslow – Bass
Charles Koryn – Drums

Intros by DuskLord and Daryl Kahan
Keyboards and Acoustic Guitar by Phil Tougas
Backing Vocals: Winslow and Phil Tougas
Guest Leads by Patrik Fernlund *

Recorded by Charles Koryn at Elektrik City Recording.
Portland, Oregon
Recorded and Mixed by Stephen DeAcutis at Sound Spa Studios,
Edison, New Jersey
Co-Produced by Daryl Kahan and Phil Tougas
Mastered by Daryl Kahan at Winterdark – Jan 2026
Executive Producer: Roy Yeo
All Music by Funebrarum © 2026All Lyrics by Daryl Kahan except “Beckoning the Void of Eternal Silence” by Winslow and Daryl Kahan
All Artwork and Design by Daryl Kahan 2026
Logo by Turkka Rantanen


www.funebrarum.com
www.pulverised.net

Goetia – Mortuary Cult (Carbonized Records)

Posted by John Lithium on

Label Description: “Mortuary Cult”, the first Full-Length album from Goetia, features ten blasting tracks of Death Metal desecration.

Goetia:
Matt Scott – Bass & Vocals
Demir Soyer – Guitars
Nadia Tydings-Lynch – Drums

Recorded and Mixed by Matt Michel at Viva Studio in Fairfax, VA
Mastered by Will Killingsworth at Dead Air Studios
Cover Artwork by Chris Taylor
Logo by Matt Scott

Skeleton – Skeleton (20 Buck Spin)

Posted by John Lithium on

Ripping forth like a dagger from the flesh of Austin, Texas comes the self-titled debut LP from the lone star state’s new wreckers of civilization Skeleton. Having plied their black market trade for several years in grime infested underground dungeons and sub-basements, 20 Buck Spin was called forth to issue Skeleton’s first LP, a cataclysmic expansion of the band’s unhallowed vision venturing well beyond its earlier borders.

Though some might be prone to lazily apply simplistic genre tags to Skeleton’s style, the reality is far more sweeping as the debut LP immediately reveals an excessively sharp metallic-charged juggernaut of severe force and high plains mayhem. War-like hymns for the soldiers of a scorched apocalypse to come, from which a bleak alternate future will emerge.

The 11 tracks comprising ‘Skeleton’ signal the black dawn of a new breed, and when the final somber strains of ‘Catacombs’ close out the album, an eerie sense of the end as the beginning lingers like a morbid premonition…

Growth – Under The Under (Wild Thing Records)

Posted by John Lithium on

Label Description:

Below rock bottom under the weight of truth. Yet in facing truth there is a spark that reveals there’s more to you than your darkest place. Over half a decade on from the release of their debut album, The Smothering Arms of Mercy, Melbourne progressive-death metal outfit Growth have re-emerged with Under The Under, the long-awaited second chapter of their planned trilogy aimed at going beyond expressing emotion, illustrating pathways of recovery while acknowledging the most dread-filled aspects of it.

The gap between releases has been deliberate….and necessary. Where The Smothering Arms of Mercy was written from within collapse, sickness and isolation, Under the Under exists in the far more uncomfortable space that follows: what happens when survival is no longer the question and you’re forced to confront who you are once the wreckage settles. In the bands own words, healing, is not gentle. It is an ugly process. Chaotic, disorienting and often more confronting than the pain that preceded it. Growth began in 2017 as a reflective space for brothers Tristan Barnes (guitar/bass/artwork) and Nelson Barnes(drums), and vocalist LF, later joined by Nick Rackham (bass) and Ben Boyle (guitar), to explore trauma, mental illness and grief without romanticising them. The project was never intended as catharsis for its own sake, but as a way to illustrate recovery in all its brutality. not as linear progress, but as something fractured, cyclical and deeply human. Under the Under is an album that documents six stages of recovery not as levels to be celebrated, but as thresholds to be endured. Across the record, Growth interrogates the dignity we attach to suffering, the comfort of identifying solely with trauma and the terrifying possibility that we might be more than the stories that have kept us alive.

If The Smothering Arms of Mercy was a document of total spiritual collapse, Under the Under is about the ugliness of its reconstruction. Shame, fear, memory and the quiet violence of choosing to move forward regardless. Growth does not offer solutions but instead offer honesty and an invitation to sit with the questions most of us spend our lives avoiding. Under The Under is planned for release on March 27 via Wild Thing Records and available for pre-order now.

Recorded, Mixed and Mastered by Tristan Barnes at Underland Recordings in Melbourne, Australia