The shadow of Death amongst other heavy hitters looms large on The World We Live In, the latest full length from Cryoxyd.
You can trace its musical lineage from the early 90s to present day, where it gleefully takes every influence possible from that rich golden period whilst driving a truck through and past the musical movements that have sprung up since then – Nu Metal, NWOAHM all that good stuff is ignored in favour of building the best music they can, music that sounds like their heroes without directly copying them. And why not? There are plenty of bands that continue to draw from Black Sabbath so why not look to the prime exponents of death metal?
Once we navigate past the intro into Day After Day, they take no time in showing us what they are all about. And they are all about the riff, the double bass and vocals that are part John Tardy and the mighty Chuck. There is a definite guttural approach, but one that is delivered in a way where you make out the lyrics. Comparisons with latter stage Death cannot be avoided, there is a feel running through it but like I said its not overt in how its done.
Once we navigate past the intro into Day After Day, they take no time in showing us what they are all about. And they are all about the riff, the double bass and vocals that are part John Tardy and the mighty Chuck. There is a definite guttural approach, but one that is delivered in a way where you make out the lyrics. Comparisons with latter stage Death cannot be avoided, there is a feel running through it but like I said its not overt in how its done.
Its more like they have gone for a ‘what would Chuck do here?’. Add in that they can play this music with their eyes closed and you have a powerful opening blast. Dismal Fate utilises starts slower and then they build it up and out, moving through the technical gears and its basically a showcase for intelligent riffing and quality lead breaks. Having that fast/slow one two is traditional, and as long as they don’t drop a ballad in next, then we are golden.
Spoiler – they don’t and in Injected Minds they drop a banger. This one has all of the tricks running through it – melodic lines that double up, leading into rapid tempos and again lead breaks that bridge that gap between the technical and the mental. Its quality, death metal written by pure fans who want to express their love for it.
You will be happy to know that despite the inclusion of an instrumental, the later songs don’t run out of steam despite the average run time being north of 5 minutes. Ambivalent Feelings is a good example of how they take a base riff and then build around it. Honestly, the approach is nothing new and I won’t pretend to you that it is. What I will say is that they have built effective death metal that is familiar but worthwhile to listen to. There aren’t any duff tracks here, and yes you could argue that they sound a lot like Death but should that stop you from enjoying it? Maybe, but then that would depend on you being the sort of person who only listens to death metal between a certain period and from certain bands.
Bob Saliba – Testimony (Independent) [Cherie Curtis]
Bob Saliba brings us Testimony which to me is a real mixed bag. We are presented with 13 tracks of determined, high powered and easy to listen to power metal mixed with hard rock.
Spoiler – they don’t and in Injected Minds they drop a banger. This one has all of the tricks running through it – melodic lines that double up, leading into rapid tempos and again lead breaks that bridge that gap between the technical and the mental. Its quality, death metal written by pure fans who want to express their love for it.
You will be happy to know that despite the inclusion of an instrumental, the later songs don’t run out of steam despite the average run time being north of 5 minutes. Ambivalent Feelings is a good example of how they take a base riff and then build around it. Honestly, the approach is nothing new and I won’t pretend to you that it is. What I will say is that they have built effective death metal that is familiar but worthwhile to listen to. There aren’t any duff tracks here, and yes you could argue that they sound a lot like Death but should that stop you from enjoying it? Maybe, but then that would depend on you being the sort of person who only listens to death metal between a certain period and from certain bands.
There is a lot to enjoy here, especially when they end with Mindless Human Form which is a stone-cold belter. Manic stop/start riffing, double bass for days is exactly what you want, especially as it segues into the outro track, which like the intro wasn’t really necessary. Putting those to one side, it’s a quality album that has a lot going for it and if you are a lover of death metal, especially well built, efficient death metal then you should be all over this. 8/10
Muffasonic – Brotheranza (EP) (Self Released) [Spike]
This is the sound of your inner ear being rewired by a massive fuzz pedal. Muffasonic—the Italian instrumental power trio has delivered Brotheranza, an EP that proves the most powerful statements often require no words. This is dirty, fuzzed Heavy Psych Rock that merges old-school Stoner grooves with modern, cinematic intent.
The manifesto is simple: epic jams and relentless volume. The EP is a short, five-track masterclass in creating crushing soundscapes, proving their claim that they can recreate their live impact in the studio. Tracks like the opener Komadrone and the following Phantoxication immediately hit with sharp, aggressive energy. These are not ambient pieces; they are direct, heavy rock movements where the guitar (Gianluca Sirri) and bass (Nicola Casadei) communicate solely through corrosive tones and intricate, interlocking grooves.
Muffasonic excels by leaning heavily into atmosphere. The material frequently evokes a sense of journey, driven by cinematic elements that feel ripped from a high-speed desert chase. The absence of vocals is a strength; it forces the listener to focus entirely on the relentless, hypnotic rhythm section provided by Giampaolo Farnedi's drums, which is the necessary engine for this wild trip.
The full weight of the EP is delivered by the monstrous closer, Bovindha, which clocks in at over ten minutes. This track is the definitive statement of Brotheranza, providing the ultimate long-form instrumental jam. It builds, it expands, and it ultimately dissolves into a psychedelic, satisfying drone, proving that this trio has huge potential for the future of epic, heavy psych metal. This record is essential for anyone who believes volume and texture are the true ingredients of musical aggression. 9/10
Muffasonic – Brotheranza (EP) (Self Released) [Spike]
This is the sound of your inner ear being rewired by a massive fuzz pedal. Muffasonic—the Italian instrumental power trio has delivered Brotheranza, an EP that proves the most powerful statements often require no words. This is dirty, fuzzed Heavy Psych Rock that merges old-school Stoner grooves with modern, cinematic intent.
The manifesto is simple: epic jams and relentless volume. The EP is a short, five-track masterclass in creating crushing soundscapes, proving their claim that they can recreate their live impact in the studio. Tracks like the opener Komadrone and the following Phantoxication immediately hit with sharp, aggressive energy. These are not ambient pieces; they are direct, heavy rock movements where the guitar (Gianluca Sirri) and bass (Nicola Casadei) communicate solely through corrosive tones and intricate, interlocking grooves.
Muffasonic excels by leaning heavily into atmosphere. The material frequently evokes a sense of journey, driven by cinematic elements that feel ripped from a high-speed desert chase. The absence of vocals is a strength; it forces the listener to focus entirely on the relentless, hypnotic rhythm section provided by Giampaolo Farnedi's drums, which is the necessary engine for this wild trip.
The full weight of the EP is delivered by the monstrous closer, Bovindha, which clocks in at over ten minutes. This track is the definitive statement of Brotheranza, providing the ultimate long-form instrumental jam. It builds, it expands, and it ultimately dissolves into a psychedelic, satisfying drone, proving that this trio has huge potential for the future of epic, heavy psych metal. This record is essential for anyone who believes volume and texture are the true ingredients of musical aggression. 9/10
Funeral Vomit - Upheaval Of Necromancy (Xtreem Music) [Joe Guatieri]
Funeral Vomit are a Death Metal band from Columbia that formed in 2020. They have quite a few releases under their belt already with a demo, two splits, an EP and their first full-length, Monumental Putrescence, which came out in 2023. Now in 2025 they bring us their second LP with Upheaval Of Necromancy.
To begin with, we are presented with an interlude, that being Intro (The Disentombment). It brings up the feeling of isolation as images of crawling around a venting system in a spaceship in a far off world come to mind. The static in both channels represents the need for me to catch my breath and the low-down bass strikes hint that something may be after me.
Going into track two which takes the same title of the album, we are presented with what this record is all about. Blistering guitars which strangle your ears into submission, thunderous dark bass and wild drums with a surprising Hawaiian-esque timber, especially in the tombs.
Sulphuric Regurgitation in next, which is full of surprises. After the aggression, something more fun bounces into the picture, out of nowhere comes a Groove Metal section from 1:54 which tightens up into something that brings you in, instead of pushing you away like the majority of the album does.
It’s always nice to headbang whilst staring into the eyes of death, as then a Hard Rock solo washes over you and disconnects you from the server. It feels completely out of place, especially with its silly dive bomb but I just love it. I’m always here for the rug being pulled out from under my feet and Sulphuric Regurgitation does just that which is why it’s my favourite song on the record.
Later we go into track seven with, Altars Of Doom. Now to me, this takes a song that wouldn’t be out of place in Looney Tunes short and drags it through a fun house mirror, of course whilst being burned alive in the depths of hell.
It’s got a sick solo and the vocalist made me burst out laughing, they are saying so many words at once in their saliva spluttered growly delivery to a point where I don’t even think they are speaking English anymore. As far as I’m concerned, they have took the liberty of inventing their own alien language on the spot, how appropriate.
Upheaval Of Necromancy is on a seesaw throughout its runtime, juggling the menace of its cutting Lo-fi production and the band’s playfulness. Even when the layers of claustrophobic instrumentation are pressing against your person, the band’s character shines a torch through it, having fun in the dark.
Funeral Vomit are a Death Metal band from Columbia that formed in 2020. They have quite a few releases under their belt already with a demo, two splits, an EP and their first full-length, Monumental Putrescence, which came out in 2023. Now in 2025 they bring us their second LP with Upheaval Of Necromancy.
To begin with, we are presented with an interlude, that being Intro (The Disentombment). It brings up the feeling of isolation as images of crawling around a venting system in a spaceship in a far off world come to mind. The static in both channels represents the need for me to catch my breath and the low-down bass strikes hint that something may be after me.
Going into track two which takes the same title of the album, we are presented with what this record is all about. Blistering guitars which strangle your ears into submission, thunderous dark bass and wild drums with a surprising Hawaiian-esque timber, especially in the tombs.
Sulphuric Regurgitation in next, which is full of surprises. After the aggression, something more fun bounces into the picture, out of nowhere comes a Groove Metal section from 1:54 which tightens up into something that brings you in, instead of pushing you away like the majority of the album does.
It’s always nice to headbang whilst staring into the eyes of death, as then a Hard Rock solo washes over you and disconnects you from the server. It feels completely out of place, especially with its silly dive bomb but I just love it. I’m always here for the rug being pulled out from under my feet and Sulphuric Regurgitation does just that which is why it’s my favourite song on the record.
Later we go into track seven with, Altars Of Doom. Now to me, this takes a song that wouldn’t be out of place in Looney Tunes short and drags it through a fun house mirror, of course whilst being burned alive in the depths of hell.
It’s got a sick solo and the vocalist made me burst out laughing, they are saying so many words at once in their saliva spluttered growly delivery to a point where I don’t even think they are speaking English anymore. As far as I’m concerned, they have took the liberty of inventing their own alien language on the spot, how appropriate.
Upheaval Of Necromancy is on a seesaw throughout its runtime, juggling the menace of its cutting Lo-fi production and the band’s playfulness. Even when the layers of claustrophobic instrumentation are pressing against your person, the band’s character shines a torch through it, having fun in the dark.
Overall, Funeral Vomit have crafted an album that they can call their own. It’s got all the bells and whistles you could ask for with its impactful samples and threatening blast beats but it still could do so much more, it could of been scary. Upheaval Of Necromancy has substance but for me lacks structure. 6/10
Bob Saliba – Testimony (Independent) [Cherie Curtis]
Bob Saliba brings us Testimony which to me is a real mixed bag. We are presented with 13 tracks of determined, high powered and easy to listen to power metal mixed with hard rock.
There's a mixture of emotionally dynamic and energetic anthems with traditionally sharp riffs and catchy choruses with sometimes gritty lead vocals with clean layered harmonies to then we get a joyously fun track which is almost peppy in spirit. Bob Saliba brings us radio rock that's fit for everyone and all purposes, no complaints to be had except that it isn't something ill choose to put on.
Each track has a creative and interesting build but after a few minutes the chorus can veer on the edge of boring as I feel like we’re given different versions of the same chorus, which isn’t necessarily a negative thing – it just shows that he has a distinctive sound and knows what works for him.
Each track has a creative and interesting build but after a few minutes the chorus can veer on the edge of boring as I feel like we’re given different versions of the same chorus, which isn’t necessarily a negative thing – it just shows that he has a distinctive sound and knows what works for him.
It’s worth mentioning that instruments are played perfectly, cutting and distinctive solos and clean vocals with an elegant amount of reverb are gorgeous especially when in French which is his native language. It all works well together; it's an album that's well made with a clear intention of being an uplifting foot tapping tune. If it came out in the late 80s, it would have been a mainstream hit. 6/10.
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