Category: Uncategorized

  • Album Review: Compulsed – “Amalgamated Anguish”

    “Wound dehiscence” meaning: is a serious surgical complication where a previously closed incision separates and reopens, sometimes partially and sometimes completely. This often occurs within days of surgery, exposing the underlying tissue and potentially leading to infections or the protrusion of organs. Symptoms include increased pain, bleeding, swelling, fever, and broken stitches, and it requires immediate medical attention to prevent complications like evisceration.

    Now as follows:

    “What i see is the seething surface of torment, a chaos of textures where flesh, stone, and shadow blur into one another. Hatred looks abstract, a storm of black and white strokes, but the longer you stare, the more faces, jaws and twisted forms begin to crawl out of the background. The title “Amalgamated Anguish” feels literal here: pain compressed, layer upon layer, until it fossilizes into a wall of screaming matter.

    The left side seems to churn, as if entrails and bone fragments are caught in a grinder, smeared into the canvas. On the right, the darkness thickens, but within it you catch glimpses of teeth, sockets, and gaping mouths, like corpses pressing from behind a membrane. The textures recall eroded stone, but also rotting flesh: a geology of suffering.

    What makes it unsettling is the lack of central focus. Your eyes dart, hunting for a single figure to hold onto, but every shape dissolves into another. It mirrors the effect of dissonant, cavernous death metal riffs: a refusal to give you clarity, instead swallowing you whole in indistinct violence.

    This is a cover that doesn’t show anguish as a moment, it shows anguish as a substance. Anguish as something you drown in, that coats you, that binds all bodies into a single grotesque continuity. It is as if the very texture of existence has been scraped raw and pressed into monochrome.”

    This is what you should feel when “Wound Dehiscence” starts punishing the air around you. The words above aren’t even close to an even description to what this album is. It’s like if torment was condensed in a box and delivered into your mail, like a nailbomb.

    This band is fairly new, their first demo dates from last year. And i can’t thank them enough for “Amalgamated Anguish”. Holy Fuck, it’s been weeks already and i can’t get rid of this album, day after day i have been blasting it. It was able to replace Mortal Wound’s “The Anus of the World” that had been reigning supreme since last year.

    This album has no skippers, track after track, you just play it and play it. When you realize, it’s playing again. That’s blast witchery, bro. Life without blastbeats would be a huge mistake, i feel sorry for people who aren’t into it. So, this is my AOTY. It was a fair fight with Chaos Inception “Vengeance Evangel”, another HUGE banger of the genre, but this one has an extra sauce of DEATH, i can’t explain, words wouldn’t make justice to the misanthropic onslaught this album carries. 10/10

  • Domesticated Existences

    The living I had tamed
    to make it feel comfy.
    A cage mistaken for home,
    Walls white as Death.

    Only an unexpected trembling of lines,
    An anomaly in the continuity of my civilization,
    Let me touch the forbidden fabric of life

    The haunted hand of God extends itself
    A formless paradise,
    A paradise I do not desire.

    How can I imagine a face
    If I do not know what expression I need?

    The horror,
    the horror is myself
    before everything i see

  • Theophóros I

    “Só quando toma consciência de que não é só pior do que todos os leigos mas é, ainda, culpado perante todos os homens por todos os homens e por tudo, por todos os pecados dos homens, do mundo e de cada indivíduo, só então atinge o objetivo de nossa união.” – Como é difícil para cada indivíduo reconhecer sua própria ruína, seu egoísmo e suas limitações. Nossa vida não é isolada, é entrelaçada. Quando você falha, você contribui com a decadência comum, quando age bem, participa da salvação de todos.

    Não existe inocência absoluta, porque somos todos partícipes de um mesmo tecido humano. Viver sempre nesse dilema ético, assumir que minha vida e minhas escolhas têm impacto, mesmo invisível. Trata-se de uma visão onde cada pessoa é como uma célula do corpo humano. Se uma parte adoece, todo o corpo sofre. O “objetivo da união” é a consciência viva de que somos interdependentes.

    “Quem mente para si mesmo e dá ouvidos à própria mentira chega a um ponto em que não distingue nenhuma verdade nem em si, nem nos outros e, portanto, passa a desrespeitar a si mesmo e aos demais. Sem respeitar ninguém, deixa de amar, sem ter amor, para se ocupar e se distrair entrega-se a paixões e a prazeres grosseiros e acaba na total bestialidade, e tudo isso movido pela contínua mentira para os outros e para si mesmo. É que ele sabe que ninguém o ofendeu, e que foi ele mesmo que inventou a ofensa e mentiu para enfeitar, ele mesmo exagerou com o fito de criar, sentindo prazer, fez de um argüeiro fez um cavaleiro.”

    Mentir para si mesmo é talvez a maior desgraça que pode recair sobre o homem. Porque a mentira dirigida aos outros ainda encontra algum limite: cedo ou tarde, alguém desmascara, a realidade se impõe. Mas a mentira para si é mais sutil, mais venenosa; é uma ferrugem que corrói o interior em silêncio, até que já não reste critério para distinguir o que é verdadeiro e o que é falso. Quem se habitua a enganar a si mesmo perde o respeito por sua própria consciência. E ao não respeitar a si, tampouco consegue respeitar os outros. Assim, a vida se converte num teatro de máscaras, onde nada é sólido e toda relação se apoia em disfarces. Sem respeito, o amor também se esvai. Pois amar exige verdade, exige abertura, exige olhar o outro sem véus. Mas o homem que vive do autoengano já não é capaz de amar, e como o coração não suporta o vazio, busca então compensação em paixões grosseiras, prazeres passageiros, vícios que o embriaguem e o distraiam de sua própria falsidade. Aos poucos, a alma vai descendo da dignidade humana para a bestialidade, e ele nem percebe que a cada passo se torna menos livre, menos homem. E como se não bastasse, inventa ofensas onde não há. Uma palavra, um gesto, uma sombra de descuido: tudo se transforma em afronta. Exagera, dramatiza, reveste-se da falsa nobreza do ofendido. Nesse papel, encontra uma espécie de prazer secreto, porque sentir-se vítima lhe dá um sentido, uma importância que a verdade já não lhe dá. Assim, de um pequeno argueiro fabrica um cavaleiro, de uma poeira insignificante, um duelo heroico. Vive uma comédia amarga, em que acredita ser protagonista, quando na verdade é apenas prisioneiro de sua própria mentira.

    Epitimia

    “Não é Deus que não aceito, entende em concordar em aceitar. Faço uma ressalva: estou convencido, com toda a sinceridade, de que os sofrimentos hão de cicatrizar e desaparecer, de que uma curiosa comédia das contradições humanas desaparecerá, de que tudo se tornará explicável, como uma invenção torpe e humana. […] acontecerá e aparecerá algo tão precioso que bastará a todos os corações, para suavizar todas as indignações, para redimir todas as perversidades dos homens, todo o sangue por eles derramado, chegará para que seja possível não só perdoar como também compreender o que aconteceu com os homens — oxalá, oxalá tudo isso aconteça e se revele, mas eu não o aceito nem quero aceitar.”

    Eu não consigo rejeitar Deus. Em mim não há esse ateísmo triunfante que celebra a ausência de sentido. Ao contrário: tudo em mim grita que a vida aponta para algo maior, que os sofrimentos não podem ser inúteis, que um dia se revelará uma harmonia escondida por trás de cada contradição. Eu até acredito que haverá um momento em que todo sangue derramado será redimido, que toda dor encontrará resposta. Mas mesmo assim, eu recuso. Não consigo aceitar que a alegria futura justifique a lágrima de uma única criança que chorou sem consolo. Não aceito pagar esse preço, nem com a promessa mais luminosa.

    E é nesse ponto que penso em Levinas. Ele me diz, em A Metafísica e o Humano, que a verdadeira transcendência não está em sistemas nem em explicações, mas no rosto do outro. O infinito se revela na vulnerabilidade do outro, e esse rosto me ordena: “não matarás”. Não preciso justificar o sofrimento em nome de um plano divino ou de uma lógica cósmica, o sofrimento já é um apelo, um mandamento silencioso que me torna responsável. E, de repente, percebo que a lágrima da criança não é um problema para ser resolvido, mas um chamado. O rosto dela não pede explicação, pede resposta.

    Mas há também Sartre, que me fala de liberdade. Ele lembra que não posso me esconder atrás de Deus, nem do destino, nem da história. Eu sou livre, absolutamente livre, e essa liberdade me condena a ser responsável não apenas pelo que faço, mas pelo mundo que construo com minhas escolhas. Não existe desculpa metafísica: cada gesto meu projeta uma imagem do humano e me compromete diante de todos. E talvez seja aí que minha recusa se converta em acusação contra mim mesmo. Se existe sofrimento inocente, ele não é apenas um enigma a ser lançado contra Deus, mas também um espelho que revela a minha cumplicidade silenciosa, minhas omissões, o peso da minha liberdade.

    E, no entanto, mesmo dividido, continuo diante de Deus e do mundo dizendo: “Eu não nego Tua existência, mas não aceito Teu mundo.” Só que agora essa recusa não é um gesto de orgulho, mas uma ferida que me torna responsável. Porque se não aceito, devo agir. Se não posso justificar, devo amar. Talvez seja esse o sentido último: não aceitar o mal, não justificá-lo, mas não permitir que ele destrua em mim a capacidade de responder, de ser responsável, de amar. E, como Aliócha diante de Ivan, talvez minha resposta não precise ser uma teoria, mas apenas um gesto, um beijo silencioso que, sem resolver nada, afirma tudo.

  • Album Review: Diabolizer – “Murderous Revelations”

    That cover erupts like scripture penned in magma and hatred. A lone figure, cloaked in abyssal tatters, raising his hand in command, summoning an infernal storm of winged abominations. They scream from the fissures like miscarried angels, pouring out of a sky that is no sky at all, it is gaping wound in the firmament… crowned by a colossal skull, grinning as the world beneath it burns.

    The mountains are no longer stone, they are altars of ash, jagged ribs of a planet flayed alive. Lava floods through them like veins cut open for sacrament, staining everything in the colors of judgment: blood, smoke, and the radiance of annihilation. The book in the conjurer’s hand is no gospel; its pages vomit curses, each word a key turning in the lock of the abyss.

    This is not revelation in the holy sense, this is revelation as massacre. A theater where the divine is strangled, and what remains is the triumphant roar of carrion gods. The cover is not inviting, it is indicting. It tells you so plainly: step inside, and you step into a liturgy written in blood, where damnation is the only chorus and the only salvation is to be torn apart by the wings of the pit.

    And That was only the first track, you have 7 more. Following 2021’s “Khalkedonian Death” these turkish Masters of Death craft are still sharp as fuck. I can precisely recall when a friend of mine sent me a link back in 2012 (hell yes) with 2 tracks from their first demo “Shadow of Impending Decimation” the vocals from the so called Abomination Demonseed got into the feeling i was being taught a lesson, that dude WAS ANGRY, for the record, he’s angrier than ever. Well, this line-up to be honest, was destined to do great things, considering Malik and and Mustafa also hit their strings in Hyperdontia, not to mention dozens of other projects such as Engulfed, Decaying Purity (RIP) and so on. These guys definitely know their shit. Just complementing the string team, Can Yakay Darbaz is the other guitar man, also in Engulfed and Burial Invocation (Definitely a must check if you’re not familiar with those).

    Now let’t talk about Engin Güngör AKA Aberrant, the driving force, or the force of nature sitting behind the drumkit. As I write this review, “Purulent Divinity in Black Flames” is blasting. I am huge Death Metal fan, and dude, i am addicted to this album. All the Elements here blend so beautifully, creating one of the Top Death Metal releases from this year. Titles like “Hogtied in Razorwire” and “Bloodsteam Bonegrinder” makes me faithful there still people willing to put maximum effort in the style. This album has everything, from Brutal Passages such as “Into the Depths of Diseased Minds”, an amazing opener to more Oldschool pieces which amazed me: “Set the World Ablaze (Infernal Dawn)”. If you live in Europe, they have some dates scheduled, make sure you catch them, you won’t regret at all.

    Now I will wrap this up like waving from the Jaws of Cerberus. “Murderous Revelations” is a true masterpiece and must be praised. Check them out.

  • Waving From the Maw of the Beast

    The Darkness Moves thick, yet, there’s no direction. So Many battles fought within. I am inside it and it keeps swallowing me, yet, it’s not hungry. The air tastes of iron and rust but the body breathes anyways. Stupidly obeying its nature, its cage. I raise my hand, i don’t intend escaping nor resisting. I just want to exist in the motion, this gesture without meaning. A wave no one will see. The walls of the beast pulse an Algor Rythm, it secretes my thoughts away. I can hear the fluids dragging behind the skin, a tide that carries me deeper into it, i can see the place where no light remembers its origin. There’s no bargain here, no promises, no ressurection. The beast is not evil, just infinite. It just devours everything, it cannot do otherwise. And i allow myself to be carried, because i cannot too, do otherwise. Death is not an event, it’s a process already completed, the silence before birth, the endless pause between clicks, in a metronome that was never wound. And so i keep waving, from the maw of the beast. To nothing, to no One, to the Absurd.

  • Depois do Zero Absoluto

    Eu me tornei uma onomatopeia lânguida nadando no lago dos suicidas. Um eco sem origem, forma sem força, resquícios de um ruído antigo. Aquele murmúrio que morreu de exaustão no fundo de um espelho rachado. Cada braçada nesse lago é uma desistência disfarçada de sorriso, de movimento. A água me consome com ternura fingida, me embala como se me amasse. Mas ela quer me manter ali, submerso, sem nome, sem forma.

    Sou um eco existencial que floresce de um ventre consumido por moscas. Nasci do que sobrou, das ruínas da dor e do amor. Uma fé corroída entre pactos quebrados em silêncio. Meu corpo carrega o veneno dos que vieram antes. Amo esse vazio, assim como as moscas amam a putrefação e o chorume que exalam desse cadáver. A beleza desse existir, o morrer permanente, o sangrar silencioso, assim em frutos.

    Me agarro em “deus”, me agarro nessa ideia como quem segura um fósforo aceso no meio de um furacão. A ideia de que alguém, em algum lugar, sabe o que está fazendo. Que há um plano. Que o caos não é absoluto. Que a segunda lei da termodinâmica não existe. Que logo após, não vem o zero absoluto. Tudo afunda, tudo escapa. Mas o amor, mesmo que imaginado, mesmo que quebrado, é o que ancora. Não um amor romântico, mas esse impulso primitivo de se fundir com o outro, de se reconhecer em alguém, de existir para além do próprio espelho. Sem isso, eu desmonto. Sem isso, viro só eco. Só ruído. Só silêncio disfarçado.

  • The Great Flat Spiral

    We live in a spiral.

    Not a metaphorical one, though those are everywhere, but a literal, galactic spiral. The Milky Way, a flattened whirl of stars and dust, spinning in the dark. Gravity holds it together, barely. It’s wide and thin, stretched like a dying thought across nothing. And in this spiral, on a rock small enough to forget, we exist. Temporarily.

    It’s funny, the stories we tell ourselves about this. We call it home. We draw maps of it like it’s a neighborhood. We give it names, assign coordinates, pretend like it cares we’re here. But the spiral isn’t for us. It doesn’t know we exist. It doesn’t need us. It simply is an accident of motion, matter, and the slow mathematics of collapse.

    And beyond that spiral, beyond its thinning arms and cold gas, there is the void. Not a poetic one the real one. The intergalactic darkness. The nothing between somethings. A vacuum so complete it makes silence feel loud. No light, no heat, no structure. Just distance so vast it stops being distance at all. Time dies out there. So does meaning.

    We look at that void and panic. So we build religions. We invent destiny. We chase legacy. We write stories about chosen ones and final purposes and eternal loves. All to avoid admitting what’s obvious: the universe doesn’t care. It doesn’t even notice. There’s no message hidden in the stars, no divine whisper waiting to be decoded. There is no center. There is no edge. Just the slow winding down of everything that ever was.

    And yet we feel. We ache. We want. Somewhere in the spiral, a few atoms started dreaming of forever. We touch each other with shaking hands and pretend it means more than survival. We search for God in our reflection, for hope in someone else’s eyes, for permanence in a universe built entirely on decay.

    Maybe that’s all we are: a brief, flickering resistance to entropy. A protest made of skin and breath. A quiet scream echoing inside a spiral that never asked for us in the first place.

    Still, we keep looking up. Still, we keep naming the stars.
    Still, we keep loving as if it matters.

    And maybe that, too, is enough.

    ==> https://www.youtube.com/watch?v=0fKBhvDjuy0

  • A long, inexorable fall.

    In the far distance, a black tower thrusts from the earth, one hand raised from its summit, either in farewell or in warning, it is impossible to tell. Drifting in the vault of night as if surrendering to something unspeakable. Draped in midnight’s own fabric, a body bound only by a slender golden chain at its hips, a gentle reminder that even in darkness, that are things that hold you.

    This is a triumphant sovereign. That body, a marble sculpture of spent power, arcs downward in a silent, final surrender. Each muscle, once taut with command, is now slack with exhaustion, a memory of a fight now lost. The skin is pale, chilled by the vacuum, catching the faint, cold light of distant stars. We are denied the face, thrown back into the endless dark, a secret kept from the world below. Is it a gaze of agony, ecstasy, or simply the blankness of oblivion, suspended in the endless?

    This small soul is the anchor to our world, the terrified, awestruck observer of a dying divinity. In this darkness, I see the profound melancholy of a cycle’s end. It is the heavy, silent spectacle of power becoming memory, of majesty giving way to the void. It is the moment night stops being a ruler and becomes a long, inexorable fall.

    “Night,” from “The Four Periods of the Day” series by David Scott, circa 1833, oil on canvas.

  • Fugit irreparabile tempus

    Eu me sinto morto, nestes últimos 28 dias, eu parei de sentir o mundo externo. Embotamento. Aprendi recentemente o que isso significa. Susan Sontag me ensinou. Mas eu acredito que o caso seja mais profundo. Enquanto os outros desviam os olhos, eu escrevo linhas em tua honra. Enquanto os vivos te amaldiçoam entre sussurros, eu aprendi a pronunciar teu nome em voz alta, com a reverência de quem encontrou sentido no fim. Tu és o altar onde repousam todas as ilusões, a lâmina que separa o que fui do que jamais serei. Teu silêncio não me assusta, é música rarefeita que afasta os gritos da eternidade. Que valor teria o nascer, senão pela certeza do fenecer? Que brilho teria o instante, senão pela sombra que o engole? A vida me assombra mais que tua presença: seus dias repetem-se como rituais sem fé, mas tu és sempre única, precisa, inviolável. Enquanto constroem templos para negar-te, eu fiz do meu corpo teu relicário. Carrego-te no peito como um sacramento: saber que existes me impede de desperdiçar a agonia que é viver. Eternidade é o exílio do sentido; tua finitude, o selo sagrado que torna cada segundo precioso. Não espero teu beijo com desespero, mas com solenidade, pois és tu, Morte, e não Deus, quem me ensinou a amar o que é breve.

  • 3 Albuns i can’t believe people aren’t still talking about

    This morning i was checking some new stuff at Comatose music bandcamp and i was gladly surprised with Darren Cesca’s Cytolysis. We all know this man is a machine, one of my favorite Death Metal drummers out there. He had so many bands already, I had already forgotten one his entourages, which was Serpent of Gnosis. I remember when heard that shit back in 2019, in the morning, commuting to work, those vocals sounded way too familiar, boom. Jonny Davy right there, i fucking loved every track of it and became an instant obcession during those months. 2019 was cool, “Death Atlas” also took a great part of my daily commuting routine between work, college and so on. Botton line, there are other 2 albuns i have came during those days, i still listen today and no one talks about, and i feel COMPELLED to talk about them, because they are do damn good, people should be writing poetry about it, showing their parents and shit. And they are “Results” from Murder Construct (2012) and “A Stirring in the Noos” by John Frum (2017). I will start start with Murder Construct, once i am already blasting it as i write it.

    Like said before, Travis Ryan, frontman of Death / Grind mongos CATTLE DECAPITATION, joined with EXHUMED members at that time, Leon Del Muerte, Danny Walker, and the rest to record MURDER CONSTRUCT‘s debut album “Results”. That shit surely brought results, good ones.

    The two-minute opening track, “Red All Over”, is great at putting the listener in the mood for the album. Ten seconds in, Ryan delivers the goods, and the drums kick in over some very catchy riffs. The second track “Under the Weight of the Wood”, keeps it up with Del Muerte’s assisted vocals making the song very dopaminergic for extreme metal enjoyers. The third shot the album unleashes, “No Question, No Comment”, demands lots of questions and lots of comments. Fuck, that album is so good why aren’t people talking about it? It’s sad.

    Throughout the rest of the album, the formula doesn’t change much, which is great, but there is variety in both the vocals and the riffs. It’s just pure violence. Each of the two tracks is different in terms of vocal delivery, and the Death / Grind onslaught never stops coming, not for single moment. The album closes with “Resultados”, I mean, true “Results”, good “Results”. Listen to it and tell me the results (sorry).

    Now Let’s talk about John Frum, it’s a fucking weird name for a Death Metal band, right? According to https://en.wikipedia.org/wiki/John_Frum – “John Frum (also called Jon Frum,[1] John Brum,[2] and John Prum[3]) is a figure associated with cargo cults on the island of Tanna in Vanuatu (formerly the New Hebrides). He is often depicted as an American World War II serviceman who will bring wealth and prosperity to the people if they follow him. In a 1960 BBC documentary, British broadcaster David Attenborough asked the locals what Frum looked like and was told “‘E look like you. ‘E got white face. ‘E tall man. ‘E live ‘long South America.”[4]” – Nice, LOL. At least they are worshipping real flying things.

    Its line-up has some members (really?) Derek Rydquist, also vocals at The Zenith Passage. And according to Metal Archives, current drummer is Kenny Grohowski from Imperial Triumphant. Ok, let’s talk about the RIFFS.

    I took this from https://ninecircles.co/2017/05/11/album-review-john-frum-a-stirring-in-the-noos

    “Presage of Emptiness” is aptly named: it kicks off A Stirring in the Noos with everything you can expect from the band and the album.  Massive riffs and grooves clash in ever-changing tempos, the drumming is furious and coming from all directions, and the vocals from Derek Rydquist (ex The Faceless) move from bass-heavy roars to higher-pitched screams effortlessly.   There’s never a moment, though, where things feels like they’re going to fall apart.  “Pining Light” is even better, with the music moving in fits and bursts, guitar leads rising out of the mists as the song takes an almost groove like stance before spazzing back out into the maelstrom of noise.  Elsewhere the odd time and syncopation in “Assumption of Form” and the mania evoked in closer “Wasting Subtle Body” continue the frenzied spirit laid out at the opening of the album.”

    It’s been a while since this album was release and tons of bands have come and gone already. But i have heard a few ones that sounded like this. It’s nearly esoterical, for real.

    And last but not least, finally let’s talk about the album that brought me to writing this shit, Dom Lawson reviewed it for Blabbermouth, back in the day => https://blabbermouth.net/reviews/as-i-drink-from-the-infinite-well-of-inebriation which i took some exerpts, there was some details i was unware about, for example ” And perhaps that is the point here: both in lyrical terms (as the record’s title suggests, Davy is exploring his battles with addiction here),and via sonic and songwriting values that can only be described as seriously fucking direct. “As I Drink From The Infinite Well Of Inebriation” is a ferociously focused declaration of intent, stripped of all artifice and indulgence and delivered at full, bug-eyed pelt. I kind relate to that, once i’ve battled addiction myself. That title is fucking surgical.

    Like mentioned before, Darren Cesca blast the fuck out of this record and i love the sound the drums, they sound very organic, almost tribal at some level. The tracks are the perfect combination of JOB FOR A COWBOY and BLACK DAHLIA MURDER but somehow, it sounds rawer and more spicier. LISTEN TO THIS SHIT

    Well, i have taken this out of my system. Finally. I have talked about those albuns because they’re savage. Fucking Listen to them!