Interview with Edwin Alter of Die Sektor by Daniel Ryan

Interview with Edwin Alter of Die Sektor by Daniel Ryan

What is your name & what do you do?

Edwin Alter from the band Die Sektor. I'm the vocalist and sort of front man for the group. I write the lyrics and come up with the concepts.

How long have you guys been making music for?

We have been a band for close to 20 years now.

What acts have you played with before if any?

Lots and lots. But I don't remember most of the names. I had a project called Alter which is where my name comes from but it was pretty much just a different configuration of Die Sektor. Since Die Sektor has been on a hiatus the last few years I have been restarting the Alter project which is pretty much just me doing everything so far.

Who plays what in the band?

Well I'm the vocalist and Scott Denman plays synth, drum pads and writes most of the music. Damion Blackwell plays keys and synths. We all help with production but Scott mixed the last album. Before that our former band mate Daniel Gant did the mixing. Mixing is a huge part of course.

What acts have you played with or toured?

The list is a little too long and I couldn't remember them all anyway considering all the festivals and local openers on all the tours. But let me stick to just touring and I will try to remember them all. Deviant UK, Cryogen Second, For All The Emptiness, Frontal Boundary, Becoming The Devourer, Nitronoise, God Module, Mordacious, Ego Likeness, The Rain Within, VoiceCoil, Dawn Of Ashes, Midnight Myth, Psyclon Nine, The Dead Room. Probably many more I can't recall right now.

What is the coolest experience you have had as musicians?

Just getting to travel around the world meeting new people and playing our music for new people. I loved the travel part. I seemed to be made for it.

What inspires you guys to keep doing what you do?

I don't really know. I just love the process of making a song come together and getting my creations out in front of people. It's therapy of course but it isn't just that. Maybe a sense of trying to find something just out of my reach at all times.

If you guys had to name some influences what would they be?

This is another list that is all over the place. Our influences come from all disciplines of art really and we all listen to different types of music. Part of what makes Die Sektor kind of unique and stand out is the blend of musical influences not found in other industrial bands. We never try to sound like someone. We are always trying to sound like a better version of Die Sektor. My playlist tend to give people panic attacks because it can come across so random. But to me I only listen to two types of music.

1. Music that makes me FEEL SOMETHING. I don't care what it is. The joy of music for me is the ride of emotion.

2. Parody or Novelty. Something that seems so absurd it makes me feel weird. Or just something funny.

How has the reception been for your band so far?

We have been fortunate with a dedicated fan base over the years and our music is still played in clubs across the world even though we are generally not the most dancy industrial band. Our fans have given us the chance to travel around and have some really unforgettable experiences on the stage.

To sum up this interview which website can we find your latest music on and any shout outs to anyone for the readers of Asphyxium zine?

The best place to find out music is on Bandcamp and it can be streamed from all the main streaming services. You can find post of our songs all over YouTube and our music is for sale on most music websites. Bandcamp puts the most money directly in our pockets though and we have some rare releases on there you can't find anywhere else.

-Daniel Ryan

Die Sektor at YouTube

Die Sektor at Bandcamp

Die Sektor at Facebook

Full Length: Semantron "Secrets of a Krummholz" (Grand Hand Records) by Dave Wolff

Project: Semantron

Location: Portland, Oregon

Country; USA

Genre: Experimental

Full length: Secrets of a Krummholz Heart

Format: Digital, LP

Label: Grand Hand Records

Release date: July 10, 2026

Dave French, the drummer of the Oregon doom/stoner band Yob, compiled material for Semantron while traveling with a classical guitar, composing anywhere and everywhere: backstage at shows, hotel rooms, on the road, crossing water on ferries, and sometimes in remote, undisclosed locations. In isolation, and even in the company of others, he wrote at least fifteen songs through a slow, patient process, unconcerned with the presence or absence of an audience. His songs were vibrant, somber, and meditative, resonating with deep contemplation.

What grew from that process was as firmly rooted as the krummholz, trees thriving in subarctic mountains and wind-smacked coastlines. Shaped by these harsh elements. Krummholz trees teem with life and remain connected to the ground. To metaphorically reflect that resilience on “Secrets of a Krummholz Heart,” French recorded acoustic guitars as the foundation for his material in a solitary Mount Adams cabin in Washington. Off the grid and surrounded by nature, he maintained the sense of privacy he wrote his songs with, drawing from his surroundings so the acoustic guitars sounded absorbed by them.

After completing those tracks, French recorded vocals, guitars, bass, and drums at Yob’s rehearsal space and his home studio. Choosing six cuts and collaborating with mixer Nathan Yaccino and mastering engineer Tad Doyle, French added field recordings of wildlife, wind, rivers, percussion on trees and stone, and melting glaciers to evoke the natural ambience he wanted. The material he so diligently crafted, described as a fusion of Dead Can Dance and Pink Floyd have to present itself patiently, spreading outward with a tenacious, resolute presence to occupy your thoughts with its elemental atmosphere and engage you in its meditative essence.

“Secrets of a Krummholz Heart” overflows with rough-edged guitars, generous reverb, and a polished sound. Interacting with bass lines that complement the drum tracks, the guitar layers gradually accumulate, rendering the songs more complete, balancing rawness with clarity. The overall picture formed by this, the additional sounds described earlier and an increasing amount of psychedelic sounds ensures the mournful vocals are as profound as the poetic, deeply personal lyrics.

The acoustic guitars French recorded in his isolated habitat not only realize the landscape he spent his time in but also capture pictures of fall preparing for the coming of winter, or winter waning in preparation for spring. “Secrets of a Krummholz Heart” travels far beyond French’s work with Yob; while reminding us of his experience with doom and stoner rock it demonstrates with he can achieve by exclusive introspection. For its bleak, doomy tendencies this album pulses with life, and its effect is all the more profound if you sit back and allow each song to grow on you. –Dave Wolff

Lineup:

Dave French: Vocals, all instruments

Track list:

1. Primary Planets

2. Prisoner of the Sun

3. At the Feet of Friendship

4. Piha

5. Dry Falls

6. Krummholz Heart

Full Length Review: Dystopia "De Verboden Diepte II: De Weg van de Meeste Weerstand" (Immortal Frost Productions) by Dave Wolff

Band: Dystopia

Country: Netherlands

Genre: Black metal

Full Length: De Verboden Diepte II: De Weg van de Meeste Weerstand

Format: Digital, digipack CD, vinyl (see Bandcamp link for more information)

Label: Immortal Frost Productions

Release date: March 27, 2026

Dystopia maintains the raw, cold essence of bands like Darkthrone, Aura Noir, Gorgoroth, and Urgehal, while introducing luminous, serene windscapes to autumnal landscapes where summer wanes, skies turn grey, days shorten, and melancholy and introspection set in as the distant approach of winter is announced. Their fifth full length album “De Verboden Diepte II: De Weg van de Meeste Weerstand” breathes life and vitality into those cold, dark places, indicating those landscapes are not dead but at rest. Life persists in seemingly lifeless or forgotten landscapes; you just have to know where to search for it.

This is the second in a series of concept albums by the band, the title translated as "Forbidden Depths." Starting with “De Verboden Diepte I: Veldslag op de Rand van de Wereld” (released in 2024), they embarked on a progressively slower, deeper journey designed to immerse you in unearthly domains somewhat like the ethereal plains in Dante Alighieri’s "The Divine Comedy." Unlike Dante’s travels through Inferno, Purgatorio and Paradisio, Dystopia consolidates damnation, purgatory and paradise into a single fluctuating domain, varying them in nature to evoke different impressions throughout the experience.

On “De Verboden Diepte I,” Dystyopia skimmed the surface of the underworld, uncovering what they’ve found deep beneath the cold ground of earth. Refined and linear, it revealed several moments of alchemical force, hinting at hidden vibrations emerging to the surface. The emphasis on horns and post-black metal themes has increased in the two epic-length songs written for “De Verboden Diepte II,” breathing much more energy and animation into the unpolished, unripened, impure attributes of second wave black metal.

The album opens with a brief section that’s both abrasive and atmospheric, hinting at riffs to come later, evoking a sensation of digging through an impenetrable barrier between our world and the realms the band creates. The sounds seem to increase as you get closer, building toward what’s next. Once the barrier is breached, they provide ample space for us to experience intense ferocity, meditative reflection, and poignant contemplation.

The fourteen-minute track “Confrontatie” shifts from pure tremolo-picked fury, enhanced by subtle background guitar and horn harmonies, to a breakdown where the guitar harmonies come to the forefront. Another breakdown follows, featuring a sliding, post-black metal-inspired riff that feels like a hurried downward pull, abruptly giving way to descending, contemplative melodies that are in some ways brighter and slightly more optimistic than the preceding sections. This suddenly ends with the guitars ringing out across several seconds, leaving room for mournful horns accompanied by drums and atmospheric guitars.

In black metal, guitars usually dominate, with horns and keyboards providing ambient texture. Here, however, the horns take center stage to draw you in while the guitars and drums recede into the distance. All these mood shifts unfold within the first five or six minutes. Complementing the nihilism, a mournful tone emerges through intricate horns that linger until we return to the initial complexity established at the start of the track.

The track’s unpredictable pattern, repeating certain motifs one moment and shifting direction the next, with guitar solos as expressive as the horns, rewards attentive listening as it continually keeps you guessing where the band will take things next. "De Ultieme Roeping" is a nineteen-minute track that maintains a generally straightforward approach, with fewer radical breaks and a more spacious horn section. Still, it features more frequent time changes in unexpected places.

In the slower sections, the horns are pushed further into the background, offering subtle counterpoint to the dominant blast beats and tremolo picking. The breakdowns incorporate similar picking patterns, with notes far removed from those in the blast sections, emphasizing themes of self-reflection. The extended duration allows for greater operatic planning and emotional depth, resulting in a more expressive and heartfelt composition rather than a focus on mysterious atmosphere.

One key section in the middle of "De Ultieme Roeping" incorporates atmospheric guitars, which creates a unique contrast to the rest of the composition. The horns initially recede into the background but eventually regain prominence. The dual rasping and bellowing vocals in this section further emphasize the unpredictable nature of the album. You may notice I haven't discussed the bass guitars much; when looking up the band’s lineup I saw no bassist to speak of. A stronger, more active bassline could have helped bridge gaps that needed filling, creating even smoother transitions between the different song sections. –Dave Wolff

Lineup:

Cees de Wit: Drums

Dennis Onsia: Lead vocals, guitars

Rick Jongman: Guitars, backing vocals

Thomas Cochrane: Guitars, trumpet, trombone, backing vocals

Track list:

1. Confrontatie

2. De ultieme roeping

Full Length Review: Pylar "Delyrio" (Cyclic Law, Cavsas) by Dave Wolff

Band: Pylar

Country: Spain

Genre: Avant garde black/doom metal

Full length: Delyrio

Format: Digital, vinyl, CD

Label: Cyclic Law, Cavsas

Release date: July 10, 2026

Pylar creates chaos to establish order, or possibly to make way for more chaos. Since their inception in 2012 (the year when the world was supposed to end according to Mayan prophecy) they’ve released a steady succession of full-length albums, averaging one per year, plus a demo compilation in 2018 titled “Orygenes (Demos 2012-13).”

Exploring the existential collapse of our perception when visiting the vast, seemingly indifferent cosmos and learning that nothing out there is what we expected, the band delves into the metaphysical in a way that’s as unpredictable as the psychological horrors they introduce us to. Their latest full-length, “Delyrio,” fragments our last remaining concepts of reality, systematically degenerating structure and rationality into irrational dislocation and delirium. It reveals all we considered real to be little more than hallucination.

A constantly shifting and undulating fusion of black metal, doom metal, ambient, industrial, and psychedelic rock sets the scene for a concept that mixes fantasy and realism, one part speculative, one part philosophical. Dense and unstable, with an atmosphere more hallucinatory than immersive, it dissipates genre boundaries into the void it creates. The colossal tracks Pylar constructs for “Delyrio” are less about progression and more about alchemy; less about growth and more about transformation. What it’s transforming into is hard to say, as this album sounds like a process still underway rather than an end in itself.

From their earliest albums to this one, Pylar has always taken their time to manifest the subtle variations of their work, building rituals of their songs through texture and tactile vibrations. The epic-length pieces that emerge from their inspired songwriting resemble contained pockets of spatial infinity, capable of continued transformation and transmutation if allowed to expand. And who knows what chaos could arise from this? Only by viewing the big picture, the one that’s been forming since the beginning, may there be an answer.

The band tends to make each song sound like an expansion of the imagery of the previous track, with each album increasingly building upon what was experienced before. Each record is a deeper dive into the same interchanging universe, where everything cycles into neurosis and entropy. Perhaps each album should be listened to back-to-back for a fuller understanding of where they’re headed with “Delyrio.”

The fragmentation of our perception on this album stems from what could have been a long and meticulous odyssey through the deterioration of perceptibility, leaving behind something far worse than desolation. Rawer, more transitive, and more chaotic than usual, even for this band, this album speaks of every atom and molecule in the universe being dismantled from within, their death cries reaching outward and high into heaven. A close approximation might be portals to hell opening wide throughout every reach of the universe, something far beyond Armageddon, as implied in many popular horror movies exploring the end of the world.

Pylar’s full body of work is not for everyone, but receptive minds may well come to appreciate the visions they’re creating. –Dave Wolff

Lineup:

Ibb-ib’thu The Renegade: Vocals

Linea Serpentinata: Vocals

Bar-Gal” Guitar, synthesizer, Ley de Salazar

Mesagret: Bass

Lingua Alauda: Violin

Gamaboz: Drums, percussion

Track list:

1. Aροτεοsis

2. Adoración

3. Enajenación

4. Enardecimiento

Full Length Review: Faded Remembrance "The Blessing of Downfall" (Bitume Prods) by Dave Wolff

Project: Faded Remembrance

Country: Hungary

Genre: Goth/doom/death metal

Full Length: The Blessing of Downfall

Format: CD, digital

Label: Bitume Prods (France)

Release date: May 15, 2026

Faded Remembrance is one of two solo projects started by Hungarian multi-instrumentalist Tamás Albert in the early 2020s, the other being the prog/stoner/sludge project Embertears. With Embertears, Albert released a series of full-lengths and EPs exploring heavy Biblical themes such as Noah and the Great Flood, and the apocalypse. The one exception is “Songs for the Rain God Pt. 1” which addresses the Spanish conquest of Central America during the 15th and 16th centuries.

Working in relative isolation, far removed from the US doom and stoner industries, Albert deconstructs and reimagines the core elements of stoner rock and sludge metal. His material for Embertears is shorter and more condensed, featuring downtuned yet technical guitars, faster and more intricate progressions, and a stronger emphasis on tempo shifts. Albert prioritizes complex, aggressive structures in his writing, challenging himself and his listeners with multifaceted songs.

Embertears’ lyrical concepts include the age-old biblical conflict between good and evil, man’s hubris, divine judgment, and incomprehensible apocalyptic scenarios. “Songs for the Rain God Pt. 1” specifically explores spirituality and mysticism in conflict with greed and conquest. With primal and ritualistic themes, it marked a significant development in Albert’s evolution, in some respects paving way for the themes explored in Faded Remembrance’s epic recording “The Blessing of Downfall.”

Faded Remembrance is a deviation and expansion of Embertears, blending gothic metal, death metal, atmospheric sounds and doom rock. To date Albert has released four full-lengths under this project, two of which are available on Bitume Prods. Faded Remembrance showcases broader range through contrasts between clean and distorted guitars, clean and harsh vocals, providing melody, tonality and atmosphere with synthesizer, trumpet, trombone, and lead guitar themes.

Reminiscent of My Dying Bride, Paradise Lost, Anathema and Moonspell, “The Blessing of Downfall” is an internal journey exploring conflicts between faith and human nature, spirituality and existence, presenting them as endless unresolved searches for meaning. The shifting character of the songs, the instruments pushed to the front from moment to moment, embody the notion that the search for self tends to be complicated, not as black-and-white as religion suggests.

The synths and wind instruments evoke a cold emptiness, heightening the vastness of the soundscapes and deepening the sense of isolation created by the lead guitar passages. Combined with vocal styles that hover above you and emanate from beneath you, this atmosphere instills apprehension and doubt as to whether you should continue. The boundless overtones imply you may never reach the end of your journey should you decide to keep moving forward.

One strong example of this is the Arthurian legend retold in "At the Gates of Avalon." Possibly inspired by reality, as all legends are, it intertwines the magical and supernatural, involving characters forever marked by deception, infidelity and betrayal. For its enduring influence on popular culture, art, cinema, and literature, the legend concludes with Arthur’s body laid to rest on a mythical island. To this day, the legend keeps him in a perpetual state of decease with no sign of rebirth. =Dave Wolff

Lineup:

Tamás Albert: Vocals, all instruments

Track list:

1. The Blessing Of Downfall

2. Shadowhaunt

3. Glimmering Hope

4. At The Gates Of Avalon

5. Deep In The Forest

6. Requiem

7. Thoughts Of Disobedience

8. Pride Far Gone

9. Slumber In The Darkness

Interview with PSYCHØSIS by Daniel Ryan

Interview with PSYCHOSIS by Daniel Ryan

Q: What is your name & what do you do?

A: We are PSYCHØSIS and we play death metal, and fuck things up on stage.

Q: How long have you guys been making music for?

A: Well we began making music back in September 2025 when we formed, however we already had some songs that were already made that we used from a previous band that some of the members were in.

Q: What acts have you played with before if any?

A: We have played in local venues in Kent, UK with a last minute opportunity to open for a London show, all within our first few months of being a band. Recently we played a Battle of the Bands show and are through to the finals. Now, since we have played in quite a few places, we have an upcoming headlining London show, a festival called Jjakt-fest, etc.

Q:Who plays what in the band?

A:We have-

Chaøs on vocals

Little James on guitar

Finley on guitar

Harry on bass

Big James on drums

Q:If you had to lay out all the bands in order you all played in as a timeline what would they be?

A:

Big James and Finley - Serenity in 2023

Chaøs - Hømeless in 2024

Harry, Big James and Finley - No More Noise in 2024-2025

Chaøs - Chaøs in 2025

Q:What is the coolest experience you have had as musicians?

A: Probably the support from the fans. Just knowing that there are loads of people that support what you do is mental.

Q: What inspires you guys to keep doing what you do?

A: Well, it's very fun for us being able to jump about on stage playing music we, along with many others, enjoy. It's also all these opportunities to meet new people and have these new experiences.

Q: If you guys had to name some influences what would they be?

A:Probably bands like Party Cannon, Cannibal Corpse, Sanguisugabogg.

Q: How has the reception been for your band so far?

A: Well the people who go to our shows say that they enjoyed us, so we assume it's pretty good. We’ve also never had a show without a mosh pit so do with that information what you will.

Q: To sum up this interview which website can we find your latest music on and any shout outs to anyone for the readers of Asphyxium zine?

A: You can listen to us on any streaming platform (EXCEPT ROBLOX) under the name ‘PSYCHØSIS’ where we have our demo EP out. We would also like to shout out Lunacy! and EXPIRED, which are some other bands from our local scene which you should absolutely check out.

Psychosis at Youtube

Psychosis at Bandcamp

-Daniel Ryan

Full Length Review: Hannah Juanita "The Magnolia Sessions" (Anti-Corp Music) by Dave Wolff

Artist: Hannah Juanita

Location: Nashville, Tennessee

Country: USA

Genre: Country, bluegrass

Full length: The Magnolia Sessions

Format: Digital

Label: Anti-Corp Music

Release date: July 3, 2026

The story behind Hannah Juanita’s performance on “The Magnolia Sessions” is likely similar to our own journeys. In her early twenties, she left her Tennessee home to seek life and meaning elsewhere. Upon returning, she brought back songs inspired by her travels and experiences beyond herself. Arriving in Nashville she performed wherever she could, fueled by her wanderlust and experiences singing with friends beneath the stars. Perhaps the intimacy of those fireside gatherings resonated with people, leading her to become a respected artist in traditional Nashville country music. Or that she never pursued commercial success during her time away. Not as a bar trashing outlaw but someone whose journey is very personal to her.

“The Magnolia Sessions” is an ongoing series from the indie label Anti Corp Music highlighting dark country, bluegrass and folk music. Owner Dan Emery provides recording space for The Hill Country Devil, The Resonant Rogues, Cristina Vane, Angela Autumn, Joe’s Truck Stop, The Bandit Queen Of Sorrows, Squeaky Bones Ramblin’ Ricky Tate and many other artists. The space is a lone magnolia tree outside the Anti-Corp/Black Matter Mastering headquarters in Nashville. Somehow this location turned out to be an ideal spot for Juanita to present her material for the atmosphere it generated.

Juanita’s albums “Hardliner” and “Tennessee Songbird” clearly showcase her honesty about her life and key moments that shaped her outlook. Their raw, authentic approach and independent overtones liken her more to Johnny Cash and Hank Williams III than most of the county on mainstream radio. This and the sincerity she presents them with earned her recognition on music charts and praise from Grammy.com, highlighting her as an artist whose work has the potential to influence country’s future.

Recalling her solo recording session sitting on a bench outside during a hot, dark night, Juanita introduces “Wild and Blue” as a song she has felt deeply inside for much of her life. I gather the song expresses isolation and the longing to connect with other people, a sentiment reflected in many of the songs in her set. Their introspective nature makes them personally meaningful to her, regardless of when they were written or the circumstances that inspired them. Although these moments were not always intentionally planned to fit together, they share common themes. Recording them without a backup band in a quiet, solitary setting enhances their relatability, resonating with people experiencing similar moments of reflection.

As a self-made, self-proclaimed “ramblin’ gal,” Hannah Juanita has shared the stage with Kaitlin Butts, Hayes Carll, Braxton Keith, Nick Shoulders and others. Expressing her time and mileage through her guitars, beneath that magnolia tree, she had a feeling most artists can’t recapture in a recording studio, a sense of authentic connection. It’s as if she found it easy to openly reveal the feelings from faded relationships, memories of drinking with friends, being stuck in a dead-end job, and most of all grappling with loneliness and a longing for something more, something that often can't be named.

From the time she left Tennessee to her return, Hannah Juanita seems to have experienced a great deal. Beneath her angelic voice lies a sense of how heavily her experiences weigh on her. “Missin’ You,” “Tears and Tequila,” “Workin’ Girl Blues,” “I’m Not Drunk,” and the closing “Hardliner Blues,” blending old-school country and bluegrass, craft an easygoing yet profound narrative of experiences that left lasting impressions on her, make you feel them as convincingly. Getting most of her songs down in a single take, she captured a genuine vibe and spontaneity that months of practice couldn’t capture. -Dave Wolff

Track list:

1. Missin' You

2. Wild And Blue

3. Tears And Tequila

4. Workin' Girl Blues

5. Tennessee Songbird

6. I'm Not Drunk

7. Sea Of Love

8. Hardliner Blues

Full Length Review: Psycroptic "The Pulse of Annihilation" (Metal Blade) by Dave Wolff

Band: Psycroptic

Country: Tasmania

Genre: Technical death metal

Full length: The Pulse of Annihilation

Format: Digipak CD, digital, World Ablaze vinyl (Tiger’s Eye) (US), Sleepy Hollow vinyl (Radioactive Dust) (US), 180g Black vinyl (EU – Ltd. 500), Barren Waste vinyl (Swamp Green Gold Melt) (EU – Ltd. 250), Fires Of Time vinyl (Gold Black Splatter) (EU – Ltd. 250)

Label: Metal Blade

Release date: July 17, 2026

Psycroptic’s debut on Metal Blade marks the culmination of over two and a half decades of dedicated effort to develop precise, complex and structured musicianship. They have consistently pushed themselves to craft intricate song structures, never lapsing when it was time to take another step forward. This fierce work ethic extends beyond the studio into their live performances, where they showcase meticulous craftsmanship with a commanding presence. The energy they bring to the stage is palpable on “The Pulse of Annihilation,” which exemplifies their technical prowess and evolving approach to songwriting, arranging songs like architecture.

Since their independently released debut “The Isle of Disenchantment” from 2001, speed and technicality have always been central to their sound, with a steadfast determination to explore different approaches to these qualities and reinvent their manifestation. This pursuit sometimes led to polarized reactions from death metal fans, especially regarding their early releases. On Encyclopedia Metallum, for example, their albums were either highly praised (even amidst some mixed reactions) or mercilessly slammed, with the band described as mediocre and overrated.

Keeping in mind the responses of listeners who understood and appreciated the band’s drive to evolve and utilize the characteristics of extreme music, I’ve begun to see in “Pulse” their tendency to think fourth-dimensionally as a death metal band. I’m not here to label people as having narrow-minded tastes if the band doesn’t speak to them, nor do I believe death metal is basic or incapable of growth. But beyond their resilience and staying power, Psycroptic has come to realize that speed isn’t always about tempo, nor technicality solely about riff writing. Many death metal bands, including those that incorporate thrash, prog, and groove, tend to come in hitting hard and make their transitions between genres obvious. Others prefer to blur those boundaries, presenting genre differences as subtle nuances. The subtler, the better.

Psycroptic falls into the latter category, refining their nuances as much as they refine their brutal and technical elements. Pacing and timing are as crucial to the band as their awareness of when to pull back or push forward. They carefully choose bass frequencies to enhance or diminish impact and utilize space to build tension in songs designed to intensify and overwhelm. While a steady, relentless percussion anchors the sound, dual vocals, guttural and sharp, add nuanced interplay that reflect the undulating moods created through perception and grace. During moments without blast beats, guitar riffs feature well-placed notes that feel natural rather than shoehorned in.

Songs like “A Sword of Me” and “Our Pillars Fall” open with acoustic guitar intros layered with other instruments to create smooth, organic transitions into the full arrangement. “Gathering A Venomous Herd,” the album’s first video single, is described by bassist Todd Stern as a “knuckle dragger” where the band can relax on its tempo. Drummer Dave Haley describes it as a tricky wrist splitter and nonstop riff fest. The three and a half minute Robert Brens-directed video trades a bare bones portrait of the band performing the song with surreal imagery apparently added to enhance what it was written about. “The Pulse of Annihilation” doesn’t come out for a couple of weeks so this video will give you the introduction you need. –Dave Wolff

Lineup:

Jason Peppiatt: Vocals

Jason Keyser: Vocals

Joe Haley: Guitars

Todd Stern: Bass

David Haley: Drums

Track list:

1. Ashes Of A New Dawn

2. Gathering A Venomous Herd

3. A Sword Of Me

4. No Time For The Weak

5. Our Pillars Fall

6. Annihilation Pulse

7. No Blade Of Grass

8. To Embrace This Curse

9. Forging The Crown

EP Review: Haggus "The Mincecore Manifesto" (Tankcrimes) by Dave Wolff

Band: Haggus

Location: Oakland, California

Country: USA

Genre: Anarcho punk, goregrind

EP: The Mincecore Manifesto

Format: Vinyl, cassette, digital

Label: Tankcrimes

Release date: June 26, 2026

If punk is resisting fascism, corporate greed, and media misdirection—and has always been—then Haggus’s “The Mincecore Manifesto” exemplifies punk. Setting aside conspiracy theories and crackpottery, the more fascism, corporate greed, and media misdirection emerge, the more people feel compelled to speak out.

As in the late sixties, when proto-punk began with David Peel, yippie culture, and addressed civil rights, political violence, war, and Cold War issues, it’s become a matter of ‘us vs. them’ again. Originating in Oakland, California, where hip hop has long been prominent, Haggus has released an extensive series of demos, EPs, albums, and splits over the past twelve years since they decided to air their grievances.

The band channels images of gore and sickness through grind with ideological anarcho-punk leanings. Anarchism has been a recurring theme in punk since Johnny Rotten of the Sex Pistols began writing lyrics. What Malcolm McLaren sensationalized was adopted by Jello Biafra of the Dead Kennedys, who collaborated with Ice-T and inspired bands for years. Incorporating this with music started by Repulsion, Impetigo and Carcass, Haggus developed a style they’ve maintained until today.

Sharing a social and political consciousness with bands like Agathocles, Extreme Noise Terror, Terrorizer, and of course Napalm Death, Haggus writes songs that demand to be heard and to make their point. Like these bands and grassroots punk scenes across America, they perform with the tumultuous, nonrural vibe that signifies the roots of anarcho-punk and grind. The issues addressed by those bands remain vital to Haggus.

Their lyrics may appear to be lashing out and projecting anger, but they seem intended to reflect the collective frustration of a lifestyle that’s had to fight against being suppressed. They’re not angry at the world for its own sake or faking crude behavior to appear cool; rather, they confront issues of universal concern. And they do so with greater urgency, energy, hostility, and violent fervor, escalating their streetwise anarcho-punk and goregrind to furious heights. In their view, there’s no room left for indecision or walking the line, and no time to remain silent or complacent.

Haggus delivers lyrical content with the potential to match the impact of Napalm Death and Body Count, advocating self-reliance, self-awareness, and independent thought with renewed intensity. They likewise warn against trusting everything on TV or in the media. As founding member Hambone states, “The billionaires and oligarchs will use everything in their power to keep you too distracted, overwhelmed, and exhausted to notice we are headed for a global fascist state… Do not let them fool you.” As punk (and grind to a lesser extent) has transformed the world in some ways, it’s encouraging to see bands like Haggus stay relevant on their own terms. –Dave Wolff

Lineup:

Hambone: Strinx ‘n’ spew

Mr. Brisket: Stranx ‘n’ splat

Kankle Hog: Putrid pan man

Chum Bucket: Oral support

Wiener Herzog: Dabs ‘n’ doinx

Track list:

1. Decease The Police

2. Fucked Up Future

3. Welcome To The Mincecore Jungle

4. Ain’t Life Grand?

5. Tyranny And Cruelty

6. Mincecore Provocateur

7. Mincecore Gratitude

8. Head Infection

Full Length Review: Thætas "The Irredeemable Age" (Profound Lore Records) by Dave Wolff

Band: Thætas

Location: Manhattan, New York

Country: USA

Genre: Death metal

Full length: The Irredeemable Age

Format: LP, CD, digital

Label: Profound Lore Records

Release date: June 26, 2026

Part slam, part experimental, part avant-garde, New York’s Thætas follow their 2020 debut “Shrines to Absurdity” with an even more innovative and unpredictable release, “The Irredeemable Age.” They abandon the lo-fi sound of their debut, exploring a direction that defies expectations for a death metal band, with more twists and turns than before.

This isn’t an album prone to repetition, mimicking other bands’ songwriting, rehashing the same ideas, or even sticking to a single method within a track. Instead, their songwriting involves numerous curves and arcs that evolve from what came moments earlier. You must pay close attention or risk missing pivotal changes, leaving you bewildered about where the songs are headed. If you follow Thætas through this album, you may find their explorations not only clever but memorable.

What most convincingly demonstrates the band’s effort to break with traditional death metal methods is that, despite the diverse songwriting and direction, a consistent tone unifies each track. This clarity makes it evident that these disparities are deliberate, purposeful choices. The band isn’t just making random or unnecessary changes; the sudden structural shifts and unorthodox guitar hooks aren’t distractions but rather order emerging from chaos. Everything contributes to a new way of writing and arranging death metal, drawing some slight comparisons to experimental edges explored by Akercocke, Anaal Nathrakh, and Behemoth when they turned toward black/death metal.

Where other bands might tread the waters carefully, Thætas dive headfirst into their deviations, going as deep as possible to see what lies beneath. Dropping the lo-fi production of their last album resulted in a cleaner, less raw sound, polished just enough to make the transitions more well-defined. The only hint of misdirection occurs after the start of “DHUKHA.” Its opening resembles typical death metal, but soon the song shifts into off-kilter territory with time changes, strange effects, and a dreamy guitar atmosphere. Bizarre off-beats and dissonant, scaled riffs then kick in. By the end, it's clear how far this is from a standard death metal track, and the strangeness only increases afterward.

Most notably, the band selectively alters song directions, introducing new elements such as atmospheric vocals with echo and reverb. These effects gradually appear in the guitars as well, enriching the overall texture with increasing nuances. Enough nuances to leave you excited about how much they may expand on what they've created here in the future. When an album leaves you with that feeling, it usually means they've done a more than competent job. I'm confident that upon its release, it will evoke those same feelings in many listeners. –Dave Wolff

Lineup:

Cory Peterson: Vocals, bass

Terrell Grannum: Guitar

Patrick Hawkins: Guitar

Nick Crifo: Drums

Track list:

1. DHUKHA

2. Summer Of Hate

3. The End Of History

4. For The Hope Devoid

5. The Irredeemable Age

6. Stretched Paradox

7. Daytime Lantern

8. Pillars Of Fault

9. Digital Locusts