Arson Cafe

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How many times have contemporary bands in the underground been described with words like: cavernous, filthy, occult, ancient, rotten...

I was listening to Katharsis again recently and passed by their short split release with Antaeus, released in 2009 and right before the end of the band’s glorious journey in black metal.

Discovering old obscure releases with little or no recognition is a great past time of mine.

Continuing a series of short playlists started about seven years ago.

The final album by the Spanish war metal horde didn't diverge even to the slightest from delivering exactly what was expected, and exactly at the same manner: bestial chaos in reverb and echo.

As the band celebrates the 20th anniversary of this album with a 30-day tour and the release of a remastered version, coupled with the roll we have going on here with related posts, it is high time we discussed one of the foundational deathcore releases,…

I remember very distinctly hearing "Crewcabanger" from Chelsea Grin's self titled EP in 2008, and the excitement surrounding the announcement of their debut full-length, Desolation of Eden, in 2010.

Both Oceano and deathcore had entered a transitional phase around the time Ascendants was released, one that, for the band at least, was necessary after the release of the weaker Incisions in 2013.

One of my earliest and shortest posts on here in October 2012, was about Annotations of an Autopsy and their second full-length album, II: The Reign of Darkness.

If you're a regular visitor of this blog or have somehow landed here of your own accord, there's a good chance you are already familiar with the Swiss artist Tobias Möckl (a.k.a.

I discovered Sallow Moth through last year's Mossbane Lantern, a truly captivating exercise in tech and prog death metal whose complex songwriting set it apart from the genre's overcrowded landscape.

Believe it or not, one of the defining moments in my relationship with black metal came the first time I heard Nargaroth's Jahreszeiten, and specifically the repetitive riffing on the last track, "Winter".

We're no strangers to the glory of the Icelandic black scene, which has always aimed for production of music with ever-present ferocity, and continental significance.

This act has caused significant turbulence within the scene since its formation only a few years ago, yet in that short span it has already assembled a quite formidable catalogue of full-length albums.

After a seven-year void, Texas pioneers of brutal death metal, Devourment, have returned with a surprise new 12-minute EP that emphatically proves they haven't diminished an ounce of their purpose: absolute heaviness.

I've known Washington D.C.'

If you had dealings Haemoth's second full-length album, Of Vice, Suffering and Destruction in 2004, you're certainly one of the bookworms of this scene.

Grave Pilgrim have been on the rise in the American black metal underground.

After 17 years of anticipation, the dream has finally become reality.

I remember anticipating Heldentod eagerly in 2021, due to the great impression I had of German outlet Grabunhold from their 2019 EP, Unter dem Banner der Toten.

There ain't a more entertaining early Carcass-worshipping force in the modern underground than Tokyo-based duo Pharmacist (among the many, a lesser known but totally admirable case is Finland's Galvanizer).

For me, absence never killed momentum.

Since the earliest days, Polish black metal has maintained a firm presence in the underground scene and has notably evolved its psychological darkness over the years.

Watching Full of Hell continuously pile up on their fierce catalog has been a fascinating evolution to track.

I've been really eager to listen to this album from the moment I saw this fantastic front cover: a step further than just encouraging your fans to play MTG during your live show is to adopt the aesthetics of the legendary game.