Obnoxious Concoction - Obnoxious Concoction

Labels: Dry Cough Records

Formats:Tape/Digital

Release Date: 21 Feb 2025

Tracklist:

1. Painkiller's Steel Chariot

2. The Vampire

3. Dredd Avenging Battalions of 2025 AD

4. Orkish Apotheosis

5. Rangifer Tarandus Disembowelment

6. Carboniferous Copacabana

7. Rage of Augment

It's almost August, like how has that happened! Time bloody flies and bands pop up overnight. Leeds-based death metal band Obnoxious Concoction released their debut self-titled EP in February via Dry Cough Records on full-body printed tapes (yes, I know I'm very late with this review). The quartet features members from Mortuary Spawn, Tormented Imp, Gorgon Vomit and Nepalese death metallers Animality.

This EP is a fast one, so if you haven’t already heard it, prepare yourselves. Opening with ‘Painkiller’s Steel Chariot’, the riffs are the first to hit you as they pave the way for blasting yet technical death-grind and properly ferocious vocals. This is insane from every angle already. ’The Vampire’ flails with subtle thrash metal tendencies, but stomping death metal isn’t far away. It fills the mid-section before the pace goes all the way up. 

Not being too serious is a good trait for any extreme metal band, which usually manifests itself in song-titles. ‘Dredd Avenging Battalions of 2025 AD’ is a fine example as Obnoxious Concoction mix their finest ingredients to produce a blistering recipe of extremity. ‘Orkish Apotheosis’ is both the EP’s mid-way point and also it’s shortest song, picking up where the previous song left off. Much more grind-heavy thanks to the percussion (maybe a hint of powerviolence in there too), while the guitars/vocals add so much heft and vibrancy (if that’s the right descriptor).

I had no idea but apparently Rangifer Tarandus is the scientific name from Reindeer or Caribou. I had to look it up because of ‘Rangifer Tarandus Disembowelment’, which follows. I’m guessing that Obnoxious Concoction don’t approve of animal cruelty so the song-title probably refers to somebody being disembowelled by a Reindeer. As violent an image as that is, it pretty much matches the tone of the song. You’ll understand why when you hear it (if you haven’t already!). I’ve also gotta call out the sick guitar soloing towards the end.

Moving onto the EP’s penultimate song and only example of alliteration ‘Carboniferous Copacabana’; after an initial bar or two of old-school death metal riffs, Obnoxious Concoction explode once again into technical, uptempo grinding death, complete with added grooves. Without any pause at all, you’re slung headfirst into final song ‘Rage of Augment’. It’s the cherry on top of what is a ridiculously good EP from another brilliant UK band.

Obnoxious Concoction seem to have already found a formula that sounds pretty much complete, which is no surprise really given their collective experience. You’ve got another reason to deep dive into UK death metal now.

You can stream the EP digitally and grab it as a name-your-price download from Obnoxious Concoction below:-

I picked up a tape copy as soon as it went on sale; however, 1 copy remains for sale via Dry Cough's bandcamp page here - https://drycough.bandcamp.com/album/obnoxious-concoction. Sell this MF out!

Obnoxious Concoction Instagram - @obnoxiousconcoction

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Clay Birds - a separation from vanity

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 10 May 2025

Tracklist:

1. an intuition of morality

2. to my dearly departed

3. to sell our fire would be the ultimate defeat

4. infinite regress

5. everything, everything

California's coming in hot when it comes to screamo at the moment and trust Zegema Beach Records to have their fingers on the pulse. In May they released the newest EP a separation from vanity by Cali quartet Clay Birds on 100 tapes. Clay Birds have only been releasing music for a relatively short time, having released a demo, a split and a single in 2023, before following them in 2024 with their debut album Bled Out and Painted Blue. Also, if you're wondering why the EP title above reads differently to the title on ZBR's site; it was taken from the band's bandcamp/discogs pages and I can't confirm the correct title.

This EP sees Clay Birds making gorgeous emo/post-hardcore in the nostalgic way on opener ‘an intuition of morality’. There’s raw emotion, glorious clean singing, explosive heaviness and twinkling melodies flowing right the way through it. Opposite ends of the musical palette colliding in unison. The beautiful musicianship grows in majesty on ‘to my dearly departed’, where it’s joined again by clean singing that’s a cross between slow-core/indiemo, before bursts of both deep and higher-pitched screams add a sense of unease. 

From what seems like a fairly lengthy song, Clay Birds deliver something more visceral and urgent on ‘to sell our fire would be the ultimate defeat’. Driving and down-beat elements of screamo/hardcore are interwoven with the quartet’s beguiling melodic layers. ’Infinite regress’ is another shorter number and it reminds of music by bands like American Football and The World Is A Beautiful Place & I Am No Longer Afraid To Die at first. Slightly off-kilter yet gentle emo leads you into a false-sense of security (kind of) before a raucous mid-section comes in, fades and leaves you with a crescendo-like ending.

It’s the perfect way to usher in EP closer ‘everything, everything’, with punky rhythms that pep up the mood and self-introspection aplenty. It’s by far the artiest song on a separation from vanity too. Though I’ve tried my best to describe this release in words, I don’t think mere words can do it justice. You can only really take it in by listening and appreciating.

You can stream and purchase the EP digitally from Clay Birds here:-

ZBR tapes copies have sold out.

Clay Birds Instagram - @claybirdsband

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Confess - Destination Addiction

 Labels: Self-Released/EVIN Productions

Formats: Vinyl/CD/Digital

Release Date: 31 Jan 2025

Tracklist:

1. Built on a Grave

2. Slaughterhouse

3. Expedition

4. Dark on Both Sides

5. Suicide Song

6. Final Lap

7. After Goliath

8. Origami God

9. Only Shackles to Lose

10. Breathe In. Breathe Out.

Nearly three years have passed since I reviewed Revenge At All Costs, the 2022 (and third) full-length by Iranian/Norwegian metal band Confess. In January of 2025 the band released their newest album Destination Addiction, featuring percussion by George Kollias (of Nile and Contrarian, most notably) and a guest appearance from guitarist Marzi Montazeri (formerly of Superjoint Ritual and Exhorder, etc) . With Confess's main creative duo now fully settled in Norway, the focus can be placed on writing their music with freedom.

Confess have been growing gradually in recent years, casting off the setbacks that affected them early on and Destination Addiction really feels like an album that come’s from a place a stability but also defiance. Opener ‘Built on a Grave” shows that defiance off perfectly with thrashy/groove-laden riffs, bass and authoritative death metal vocals; all kept in check by the precise and classy percussive delivery of George Kollias. It’s a full-force way to kick off the record and leads straight into ‘Slaughterhouse’, which doesn’t skimp on the breakneck heaviness. There’s a refreshing sense of passion flowing through this song. That sentence may sound like a bit of a cliche but it’s not meant to. Honing a sound is difficult for any band, but Confess seem to have found their’s here.

The instant blasting/technicality that hits on ‘Expedition’ will throw you off completely as Confess delve deeper into what made nu-metal so popular at it’s heaviest. The addition of turntable scratches and samples will bring about a feeling of nostalgia in some and to be honest, those additions are well received. Variety is a good thing and Confess aren’t afraid of it. From that little bit of nostalgia to the truly atmospheric and anthemic tome that is ‘Dark on Both Sides’. This song sounds and feels different as it’s tempo slows a touch, leading to a stripped back opening passage before shades of Fear Factory, Superjoint Ritual and Meshuggah make themsevles known. Comparisons aside, Confess have it nailed, breakdowns and all!

The curiously titled ’Suicide Song’ starts with rousing feedback and marks the mid-way point on Destination Addiction. It sees Confess at their most urgent tempo-wise, while catchy instrumental touches flourish throughout that hint to their roots. The album’s latter half starts with ‘Final Lap’, which isn’t their final song at all. It’s actually another six-minute plus song filled with exquisite metalcore riffing and brutal death metal intricacy. The mid-section retreats to a passage of introspection before the percussion takes a regimented stance, leading to guitar/bass work that builds back up to the metalcore that makes it so listenable.

After that modern metal masterpiece (sorry for too much alliteration), it’s hard to know how Confess will follow it. In true metal fashion the answer is; by going in a different direction again on ‘After Goliath’, which sees them mix thrash/death metal with the nu-metal inspired scratching once again. Add to that the exceptional guest appearance of Marzi Montazeri, who provides a truly killer guitar solo and who knows what to think! ‘Origami God’ bristles with Eastern influence once again, alongside obscenely good extreme metal that sounds so assured and focused. You could describe it as many other things as well but sometimes less is more. 

The album’s penultimate beast ‘Only Shackles to Lose’ is the fastest song on the album, glitching and grinding it’s way through two-and-a-half minutes of blunt force trauma. It rests on closer ‘Breathe In. Breathe Out’ to ensure that things end on a high (if that’s the term!). It certainly does that, as Confess throw all their sonic might into the ring one final time, with George Kollias putting everything into the drums as expected. It ends abruptly but it leaves plenty of room for more from Confess too. 

It feels like Confess are very different band to the one they were three years ago. Their song-writing, performance and their choice of collaborators on Destination Addiction act as a testament to their growth. I have no doubt that you’ll enjoy this record like I did.

You can stream and purchase the album digitally, as well on both physical formats below:-

Confess will receive more from sales placed via their own site, so please consider heading here - https://www.confessband.com/category/all-products.

Confess - https://www.facebook.com/confessbandIR

INSULT - Reside Infernus

Labels: Metal on Metal Records

Formats: CD/Digital

Release Date: 25 Apr 2025

Tracklist:

1. Reside Infernus

2. Bloodthirsty

3. 0-60, Death or Glory

4. Holy War (Sea of Tears)

5. This Life We Despise

6. Berserker

7. Broken Mind

8. Power From Hell

When I spotted an e-mail in my inbox about a band that featured two of the original members of UK thrash institution Onslaught, I couldn't believe it. I also didn't realise that said band INSULT actually formed way back in the mid 80's. The duo of drummer Steve Grice and bassist Jase Stallard reformed the band in 2022 and began to write new songs, before being joined by Onslaught's roadie Jase Howell on vocals, as well as guitarists Robbie Harris and Jonny Fifield. Their debut album Reside Infernus was released in April via Metal on Metal Records.

As much as the UK metal scene needs young blood, it also needs metal legends, especially those who laid the bedrock for what we know and love today. Enter INSULT and their debut album Reside infernus. Crafting music through their collective love of thrash and heavy metal, they open with the title-track ‘Reside Infernus’. It’s haunting intro leading into anthemic guitars/bass, sharp drumming and classic thrash vocals. Catchy as hell and paying homage to the early masters, INSULT’s delivery is classy but also layered with raw passion. 

You’ll hear some familiar influences flowing through this record and on ‘Bloodthirsty’ the quintet don’t try to hide from them. Nor should you but remember that there’s much more to this album. When INSULT hit their stride, they’re unstoppable. The rousing title ‘0-60, Death or Glory’ says all that needs to be said about the attitude here, as the band rips through a song that owes as much to Motorhead as it does to Onslaught. 

‘Holy War (Sea of Tears)’ contains Eastern samples during it’s intro and proceeds to be a commentary on current global hostilities, in a way that only thrash metal can. Just like the days when Slayer criticised religion on God Hates Us All, INSULT have done so in a similar vein and that criticism is needed now more than ever. 

The album’s second half kicks off with the raging ‘This Life We Despise’, which is filled with wicked riffs, percussion and vocals that both compete against/complement each other. The chugging guitars that drag you into that lovely solo toward the end add to the ferocity as well. The aptly titled ‘Berserker’ does literally what it says and berserk’s through over four minutes of epic thrash madness. It’s brilliant! 

Penultimate song ‘Broken Mind’ starts in brooding fashion, leading to precision thrash that pulls absolutely no punches. It’s easy to see how a band that originally formed in the 80’s has been able to write and execute such incredible songs. Form is temporary, class in permanent. 

INSULT close out with a re-recorded/cover version of Onslaught classic ‘Power From Hell’ and they’re joined by a very special guest, in Onslaught’s Sy Keeler. Both Jase Howell and Sy together make for a powerful vocal duo as INSULT bring an early thrash anthem to new ears.

Honestly, it’s been way too hot this evening to be headbanging but needs must. It also seems like UK bands of old (no matter what genre) are slowly coming back to life. That can only be a good thing and if you miss the halcyon days of UK thrash, INSULT are here to remind you that it’s alive and well. 

You can stream and purchase the album digitally via bandcamp below:-

To caveat the above; I understand that bandcamp are making some changes to the way bands/labels receive payments. If you're a band/label who're concerned about this change and have read up on it already, I would recommend you look at Ampwall, which is an artist-centric alternative platform that's growing all the time.

Physical CD copies can be purchased from Metal on Metal Records here:-

https://metalonmetalrecords.com/shop/

INSULT - https://www.facebook.com/insultofficial

Metal on Metal Records - https://www.facebook.com/MetalOnMetalRecords

Emma Goldman - all you are is we

Labels: Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 28 Apr 2025

Tracklist:

1. an introduction to real estate-induced psychosis

2. at rock bottom I was a piss girl

3. I seem to be an adjective

4. I don't think much at all

5. diss track

6. this is your brain on minimum wage

7. it rubs the boycott ketchup on its brand new slacks

8. whispers catastrophe

9. that is the land of lost content

10. we're corporatizing polyamory

11. canned response

12. bellinis at the blockade

My first introduction to Emma Goldman was on their 4-way Meditations In Affinity: Solicitude split 7" with BIGHAND//BIGKNIFE, Almanac Man and Abandoncy, which was released via The Ghost Is Clear Records and Zegema Beach Records in 2020. These crazy Canadians returned to Zegema Beach Records earlier this year to release their first album all you are is we. 

They play a combination of sassy-hardcore/screamo and all that adjacent good-stuff, alongside the occasional hit of breakcore and dub-step (remember that?). If you have an aversion to bright lights and the colour yellow, you'd better stay away from their bandcamp page too!.

It feels like an absolute age since I originally sat down to write this review. Life and work things inevitably took over for a little while, but I couldn’t leave this one hanging any longer. Opening with ‘an introduction to real estate-induced psychosis’, Emma Goldman’s vocalists audibly gasp for air as they hurriedly deliver their spoken-word intro nestled amongst machine-like guitar feedback. Though for all I know, it could also be a sampled intro.

What follows is nothing short of pure audio terrorism as frenetic percussion, shattering bass, fast math-like riffs and piercing shrieks make up ‘at rock bottom I was piss girl’ .The opening barrage reminds me of the Japanese techno/electronic-infused noise of Mad Capsule Markets (also one of my faves to namedrop apparently), though further comparisons escape me at the moment, which is probably a good thing!.

The way Emma Goldman switch between that brutality and the slightly more structured emotive hardcore sound is noticeable too, purely down to the ease of it. ‘I seem to be an adjective’ has a clean yet unnerving guitar tone to it as the quartet layers up to yet another blastathon. It’s a good thing these songs are short because I don’t think any member could sustain anything longer given the sheer energy they use crafting them.

‘I don’t think much at all’ isn’t long, clocking in at a blink over three minutes and still sitting well within the wheel tracks of the band’s chaotic and impulsive compositions. Strangely though, during the mid-section I’m getting peak nu-metal vibes, as if somebody sped up the heavy parts of ‘Back To School (mini maggit)’ by Deftones. Again, what I hear and what everybody else hear’s will probably be way different.

The first time we properly hear Emma Goldman’s breakcore/dub-step is on ‘diss track’, which is a collage of samples and upbeat dance, breaking things up with aplomb before things get back to normal!? on ‘this is your brain on minimum wage’. It could well be a commentary about how real-term wages are going down across the world or it could just be another amusingly though-up title. Whatever’s correct, it’s another show of just how blistering this album is.

The album’s latter half starts off with the obscurely titled ‘it rubs the boycott ketchup on its brand new slacks’, which at nearly five minutes in length, is a bit of a departure for the album (not that I’m obsessed with song lengths or anything!). The pensive build-up makes way for probably the most post-hardcore song on all you are is we. It’s expansive, heartfelt and filled with so many different musical elements; clean singing, whispers set to grinding drums, extended instrumental passages and memorable guitar hooks. Memorable is certainly the right word here.

Following immediately on through the fading guitar is ‘whispers catastrophe’, which is a short ambient piece complete with whispered vocals and the sound of gentle lapping waves. It’s relaxing though brief and soon ‘that is the land of lost content’ is resplendent in spoken-word poetry and gentle guitar. Again, as is Emma Goldmans’s MO now, it builds in layers and volume to reveal a heavy post-hardcore song that La Dispute would have dreamed they had written. 

‘we’re corporatizing polyamory’ goes in a more frantic direction once again. It’s both maddening and chug-like at points. I think by this point, my brain has been battered beyond comprehension and being descriptive is hard. ‘canned response’ is another upbeat dance interlude that will have you raving wherever you are. The beats sound like a ticking metronome and the samples are bizarre as per usual. It’s rad and I bet it sounds great live.

Closing with ‘bellinis at the blockade’, Emma Goldman rock out in the same way they started. I use the term “rock out” because this sounds somewhat groovy at times, in between the sheer heaviness. Taking a moment to collect my thoughts as the album ends, I’m in awe. The broad spectrum that makes up screamo always seems to throw up bands that rip up the rulebook (if any such book exists). Emma Goldman might just be the heaviest/craziest band to join the party. Props to them and to ZBR for giving them a bigger platform.

If you've managed to get through my essay on how good this album is and you still haven't heard it yet, then head to Emma Goldman's bandcamp page to right that wrong and also grab it as a name-your-price download:-

Emma Goldman Instagram - @emmagoldmanband

Zegema Beach Records Bluesky Social - https://bsky.app/profile/zegemabeachrecords.bsky.social

Physical vinyl copies are available via Zegema Beach Records here:- 

CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/emma

U.S.A. - https://zbrusa.com/collections/zbr-releases/products/emma

Sarmat - Upgrade

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 28 Mar 2025

Tracklist:

1. Upgrade

2. Serum Visions

June ended up being a little quieter than I had planned but also somehow turned out to be a bit of a record breaker. I want to try and gain better writing momentum again but I'm not forcing it either. With all of that in mind, I've chosen to write about US jazz/progressive extreme metal band Sarmat and their latest release, Upgrade. The two-song EP was released on CD and digitally by I, Voidhanger Records in March.

Sarmat is more a musical collective than a band and for this release it comprises drummer James Jones, bassist/keytar player Steve Blanco, guitarists Zachary Blakeslee-Reid and Ryan Hale, upright bass player Niko Hasapopoulos, trumpeters Oskar Stenmark and Jerome Burns, as well as vocalist Ilya Belko. It was recorded live at Gojira's own Silverchord Studio and was mixed/mastered by Colin Marston.

It’s so frustrating seeing the highest profile music festival in the UK (if not the world) paying such little respect to heavy music and it’s bands. On the flip-side, the same thing also happens in some grassroots venues too, as experienced just last Sunday when I attended a gig where the venue made no effort to promote one they were putting on, which featured four up-and-coming bands trying to reach new audiences.

With that in mind, I’m trying to play my small part by sharing the newest release from Sarmat, which so far has left people both bewildered and enthralled in equal measure. Starting with title-track ‘Upgrade’, you’re thrown straight into some utterly insane, extreme metal, filled with improvisation and uncharacteristic instruments. The trumpet of Oskar Stenmark joins the drums, bass and guitar (of James Jones, Steve Blanco and Zachary Blakeslee-Reid respectively), providing an inspired dark-jazz/experimental layer.

Nothing about this piece of music is conventional and is exactly what I’d love to witness live at my local live music venue here. It combines everything I love about extreme metal and enough weirdness to leave me grinning from ear to ear. The addition of Ilya Belko’s harsh vocals in the song’s latter half push the extreme envelope further, while not detracting from Sarmat’s metallic progressiveness. 

Second piece ’Serum Visions’ is somewhat shorter than ‘Upgrade’ was, yet it feels even more of a headfuck because of it. This time Steve Blanco switches to keytar and is joined by Niko Hasapopoulos on upright bass, Ryan Hale on guitar and the trumpet of Jerome Burns. It retains Sarmat’s heavy sound but ratchets up the otherworldly experimentation to greater levels. You’ll understand what I mean when you hear it. 

I really don’t know how I reached this point of musical exploration but I’m thankful for it. Being curious enough to dig deeper Into the outer, creative edges of genres (or music in general) gives a feeling of wholesomeness, even if what you’re listening to is extreme. The ever changing collective that is Sarmat makes it even more worthwhile. Please lend them your ears.

You can stream and purchase Upgrade both digitally, and on limited digipack CD from I, Voidhanger Records below:-

Sarmat - https://www.facebook.com/Sarmatproject

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records