The Asteroid Bullet Belt

Frothing at the mouth and chomping at the bit.  Like most people in the world, I am not a native English speaker. Yet, given the increasingly globalised nature of the world – and especially the internet – I inevitably partake and interact with content and websites that by and large could be defined as part of “the Anglosphere”. It’s impossible to avoid, and despite my misgivings with it, it has its benefits, but that’s neither here nor there. One peculiar characteristic of these digital spaces is the fact that foreign languages stick out like a sore thumb when used, a non-Latin script being a surefire way to catch someone’s eye, which was precisely what happened to me with Λύσσα Κακιά ( Literally “Mean Rabies”, an expression used to describe excessive obsession or indiscriminate anger). Seeing the band’s name pop up on Metallum’s “New Bands” tab made an impression on me, and the death/crust classification only served to further pique my interest, considering how specific this niche...

Digging your own grave XXIII: Keeping the crypt half-open.  When I started this series nearly a year ago, I was well-aware of the fact that this would be a long project, be it due to the amount of ground I had to cover, or because of external factors. But at no point did I expect there to be new material coming out as I was going through Μνήμα’s backlog. Six reviews into this series though (time sure flies), we were surprised with their first – taxonomically speaking – demo in five years, Endless Void of Negativity . It’s been their only release thus far in 2026, and their first one that I’ve been around to experience when it came out, and as such I’ve been itching to cover it for the past few months, despite its brevity. The title track wastes no time making its intentions known, as some brief belches are vomited out before we’re dropped into some of their roughest sounding production since The Superior Poisoner of Time , albeit this time with much more dynamic songwriting underne...

Digging your own grave XXII: The past always catches up.  As we move towards the final stretch of Μνήμα’s discography, the frequency of releases from 2022 onwards struck me as quite peculiar, particularly in conjunction with the overall quality and emotional resonance of most of the material, splits notwithstanding. In a way, it made up for how busy 2021 was, where the overall quality of the output suffered somewhat due to the mixed nature of the splits. Less is more and all. This measured approach to their output has undoubtedly resulted in some of their best work to date, evidenced by their full lengths, Καταραμένα Λείψανα in particular being so good as to raise the same question as their better work tends to do: “where to now?”. It’s this question that Drowning in Hallucinogenic Visions  takes upon itself to answer, and it does so with a resounding “to the past”. For once, we see Μνήμα wilfully adopt an atavistic approach to their music, channeling the energy seen in their...

Digging your own grave XXI: Everything you love goes cold.  Now, I know I put this series on ice for a good bit, but let it be known it wasn’t because I found myself getting bored with it. Admittedly, covering the splits did take the wind out of my sails a little bit, but that’s only one factor that stands alongside life simply happening. Perhaps most importantly though, I found myself daunted by the prospect of covering Καταραμένα Λείψανα  (Cursed Relics). I’ve been listening to Μνήμα’s sophomore regularly for a while now, long before its time to be reviewed came, and at first contact I found myself simply enjoying the craft and the manic energy that I’ve come to expect from the band. But as I was getting progressively more immersed in its inner workings, it began to assume a different, far more prohibitive character. From the opening moments of “Cursed Relics, Cursed Soil”, the mounting tension feels far more immediate than anything a dungeon synth intro could possibly conju...

Out from the darkness and into the end times.  Much has already been written about bands who figure things out as they go. A shaky but promising first release, a minor change in sound in a spare demo or EP, and boom, a new record that showcases the direction that was previously hinted upon in a fully realised manner, which is then met with praise or derision by critics and fanbase. Tale as old as time. While there are many who are content simply refining their sound over the course of their career, I find the aforementioned approach to be far more interesting to observe as a reviewer and music fan. Really, that’s what makes Nihilism’s sophomore, Cataclysme vers l’Ascendance so fascinating to me, because not only does it give us something entirely different to what preceded it, it came about in the span of a mere two years, during which the band was radio silent. From the moment “I” breaks out, you’d almost be forgiven for thinking an entirely different band worked on this. Gone is...

Baby steps into darkness.  Though I may not have grown up here, I do consider Thessaloniki to be “my city”. Living an hour away from it, and enjoying my university years here, has led to me developing a particular connection with it, the people and its rhythms providing an air of comfort and homeliness. This extends to its vibrant underground scene, which has been sustaining itself through shows and the proliferation of local zines (shoutout to Morbid Press, if you live in the city and haven’t bought an issue yet get on with the programme). For how small the city is compared to Athens, or most big European metal capitals for that matter, it has proven to be a treasure trove for metal, with many bands cropping up on a seemingly yearly basis, some of which I’ve already covered, such as Dysnerved and Vile Extortion. Among them is Nihilism, who have elevated themselves to local hero status within the scene since their formation, opening up for a lot of big names over the past few years...

Making up for lost time.  I’ve always had a vested interest in my hobbies and obsessions being as far removed from consumerism as possible. Obviously, in the big 26, a time where capitalism’s tendrils have infiltrated every aspect of your waking (and perhaps also sleeping) life, it’s nigh-on impossible to avoid it in the things you enjoy. Everything needs to be commodified and turned into an excuse to push you towards rampant consumption and expenditure, the big festival lineups that show up across the world are very much an indication of that, even when it comes to more underground fare. Big events, stacked with bands that people are sure to want to catch live, because “How could I possibly miss out on this lineup?”, and obviously spend money on accommodation, travel expenses, and merchandise. Concert tourism. Furthermore, festivals (and bigger shows in general) stifle the connection between artist and audience, more often than not trading it for a greater spectacle. Due to that, ...