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Supreme Void – Towards Oblivion Review

By Owlswald

Relative newcomers Supreme Void began their journey as Depravity in 2016, releasing a couple of EPs over a five-year period, culminating with 2021’s End of Games. The EP delivered a familiar slab of Polish death metal, packed with the aggression, technicality, and power that flagbearers like Behemoth and Hate have long championed. Presumably realizing the existence of numerous other bands named Depravity, the trio changed their name to Supreme Void in 2023, coinciding with their signing to French label Dolorem Records, who then re-released End of Games under the new moniker. Now, Supreme Void’s debut full-length, Towards Oblivion, aims to fuse the brutal, fast and specialized Polish sound with the dissonant and stylish tendencies of the likes of Ulcerate and Gorguts—a conceptually intriguing and ambitious endeavor that tests Supreme Void’s ability to carve out their own niche within a formidable death metal landscape.

Like a murkier Hate colliding with the ominous atmosphere of Ulcerate and groovier ambitions of Replicant, Towards Oblivion oscillates between crushing weight and morose, undulating passages. Strategically placed starts, stops, and tempo changes enhance Supreme Void’s varying moods and textures as eight-string guitar provides conquering low-end and drums pummel everything into dust with devastating precision. Exile’s monstrous roars blanket Supreme Void’s underlying chaos with a thick layer of demonic miasma while the grim rumble of bass rounds out the trio’s vast and immersive sound. Opener “Remnants of Hope” is a fitting representation of what to expect on Towards Oblivion with Ravager’s cacophonous arpeggiations, blazing tremolos, and mammoth chugs shifting and writhing with Cyklon’s syncopated eruptions and Exile’s massive roars. Benefiting once again from excellent production, Supreme Void crafts a dissonant and heavy soundscape marked by writhing tension.

Supreme Void’s powerful guitar-drum attack drives Towards Oblivion’s sinister manifestation with colossal might, binding twists, turns, and jolts into an intense and turbulent auditory assault. Tracks like “Sustained by Malice” and “Eclipse of the Exalted” contrast storms of discordant chords, thrashy riffs, and machine-like rhythms with trudging grooves, enigmatic hooks, and dark atmospheric transitions that are off-kilter but also captivating. Tasteful solos (“Embrace Extinction,” “Dissolution of Power,” “Repulse Manifesto”) showcase both technical skill and emotional vision while Meshuggah-esque drawls and plodding hits drag you further into the abyss. Cyklon’s drumming is outstanding—his menacing blasts and kicks melding with darting tempos, grooving transitions, and flickering cymbal flares augment Exile and Ravager’s swirling arpeggiated dissensions and percussive shredding. Unleashing terror, Exile’s growls saturate everything with an ardent layer of filth, effortlessly tearing through the instrumental mass. The production enhances everything, granting the material the necessary space to exude its qualities while allowing each piece of Supreme Void’s sonic onslaught to shine through with refreshing clarity.

For all of Supreme Void’s merits, Towards Oblivion is sometimes challenged by a sense of imbalance across its thirty-eight-minute runtime. “Repulse Manifesto” follows a less compelling arc as “Dissolution of Power” or “Remnants of Hope,” for example, which fully realize Supreme Void’s immersive qualities. Beginning with a subdued militaristic-like primer that feels like it should be a separate interlude, the track takes too long to develop before surging into its more convincing second half. While this hints at Supreme Void’s ability to command a “slow burn” style of songwriting, the execution is awkward and affects the song’s course. Additionally, closer “Embrace Extinction” lacks the same memorable hooks as Towards Oblivion’s stronger compositions, and “Eclipse of the Exalted” feels a bit overlong, largely due to the song’s cyclical back end.

Despite these stumbles, however, Towards Oblivion finds Supreme Void delivering a strong debut that effectively merges the ferocious sounds of Polish death metal with the dark, ominous tones of today’s disso-death scene. The young trio’s dynamic interplay of crushing heaviness, shifting tempos, maddening dissonance, and technical skill—particularly the one-two punch of the guitars and drums—is enveloping and will appeal to fans across the ever-widening death metal spectrum. Although Towards Oblivion occasionally trips at asserting its vigor, Supreme Void’s clear command of aural intensity, coupled with their ambition, serves as a gateway for them to rip open the abyss with reckless abandon in the future. I, for one, will be eagerly waiting to venture into the void again.

Rating: Good!
DR: N/A | Format Reviewed: Stream
Label: Dolorem Records | Bandcamp
Websites: supremevoid.bandcamp.com | facebook.com/supremevoid
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Behemoth #DeathMetal #Depravity #DissonantDeathMetal #DoloremRecords #Gorguts #Hate #Meshuggah #PolishMetal #ProgressiveDeath #Replicant #Review #Reviews #SupremeVoid #TowardsOblivion #Ulcerate

The Willowtip Files: Kalibas – Product of Hard Living

By Saunders

Pennsylvania-based independent label Willowtip Records was established by Jason Tipton in the late ’90s. From humble beginnings, the label has stood the test of time, becoming one of the most respected and highly regarded record labels in the extreme metal scene. It takes something special to create a label with a consistently unfuckwithable roster of quality, innovative artists while retaining long-term integrity and durability. Willowtip is the self-proclaimed forward-thinking label, releasing a slew of modern classics and top-shelf albums that may have a lower profile but are more than worth your while.

This feature focuses on a pivotal early period in the label’s history that had a huge impact on my own extreme metal tastes. As such, I am highlighting some outstanding albums released by Willowtip between 2001-2006. Some are lesser-known; however, I will argue are must-listen releases from the label’s early golden era. I will skip over a couple of particularly pivotal albums from the period more suited for Yer Metal Is Olde honors; otherwise, it’s open slather. Welcome to the Willowtip Files.

Off the back of an especially gnarly, high-quality year for death metal of experimental, dissonant, and abrasive varieties, what better time to venture back into the vault of The Willowtip Files? The subject of this latest edition is none other than now-defunct New York tech-deathgrind powerhouse Kalibas and their intelligent and violently unhinged debut LP, Product of Hard Living, released way back in 2002. Reflected in the inspirational timeline of this feature’s focus, these were productive early years in the label’s storied history. However, through the passage of time, certain underground gems can be overlooked and fall into obscurity, despite being inspired albums of the time. Particularly suited to listeners who got on board with the latest albums from the likes of Pyrrhon and Replicant, those who enjoy the grindier, techier, and dissonant styles of death metal may find something to dig here. Kalibas stood out as a unique force to be reckoned with.

Featuring a talented cast of metal musicians and ex-members of bands including Lethargy, As the World Burns, and Agiel, Kalibas had a short but potent career as underground anarchists armed with a belligerent, serrated collection of weaponry, where tech, grind, disso-death and hardcore collide in ugly, challenging yet deceptively infectious ways. The choppy, technical, and challenging music within the Kalibas experience retains cohesion through the controlled chaos. Although far from accessible, the raw, yet well-defined and punchy production, coupled with the band’s penchant for unleashing jagged, deceptively catchy riffs and curb-stomping grooves, graft a surprisingly catchy edge to the album’s sneakily addictive streak. Of course, the album is devoid of more conventional songwriting structures and traditional songcraft. However, regular exhibits of deranged, infectiously riffy madness on grind-driven delights like the wickedly unhinged “All of Japa,” or swaggering grooves and drop-on-a-dime time changes and dynamic shifts of closer “Reroute the Foul” to drag you back for more.

Elsewhere, opener “Smells Like Menopause” hits like a sledgehammer upside the skull, leveraging blasty pummels, grindy screams and propulsive rhythms, with knuckle-dragging grooves and sharp technicality. Product of Hard Living is a clever, intricate beast that adroitly interlocks its brainy, dynamic songwriting and harsher escapades with the right amount of down-and-dirty deathgrind nastiness. Careening through filth-riden and tactful shifts, from thrashy deathgrind salvos and brain-scrambling attacks (“Floating in Concrete,” “Take the Plunge”), to noisy, sludge-riden hardcore rumbles (‘Rundown”) and ample terrain covered between, it’s an album chock-full of unpredictable twists. Product of Hard Living just breaks the thirty-minute barrier, and like similar extreme albums of its ilk, forms a near-perfect runtime to digest the abrasive shards of extremity and unconventional songwriting approach. without completely overwhelming the senses.

Product of Hard Living twists, contorts, and hurtles forth in a myriad of strange and artistic directions within the harsh paradigms of the extreme metal lens. Undeniably brutal, Kalibas’ debut album remains an underrated jewel in the early Willowtip canon, skillfully integrating harsh dissonance, abrasive textures, aggro intensity, and bone rattling grooves into intelligently constructed arrangements, featuring a fiercely inventive, oddly infectious songwriting streak. A challenging, though deeply rewarding listen.

Replied in thread

@VirginiaHolloway @ai6yr @Viss

web.archive.org/web/2006050621

'The Wave: "Reaction time is a factor in this, so please pay attention. Now, answer as quickly as you can.

It’s your birthday. Someone gives you a calfskin wallet. How do you react?"

Gavin Newsom: "I don’t have anything to put in it. I would thank them and move on...."

CONCLUSION: Almost too close to call. Almost. Newsom displays a defensiveness....

Newsom is definitely a replicant.

Probably a Nexus 5.'

web.archive.orgThe Wave Magazine - The Bay Area's Best Entertainment Magazine... Ever.TheWaveMag.com is the site to use for local information on entertainment, activities, movies, and stories.
Replied in thread

@Laempel @delta
Wow ok.

Hab mich schon gewundert, weil ich dachte #grapheneos ist ja "auch Android", oder gibt's noch so was wie #replicant ?

Aber noch minimalistischer ist schon ein großer Schritt

P.S. #deltachat hatte ich mal der Ansatz ist interessant, aber halt im Prinzip halt doch "nur" ein messenger der alle Cie- u d Nachteile von (verschlüsselten) E-Mails mit sich bringt

Continued thread

Para no hacer la historia larga, decidí no instalar dicha aplicación y seguir usando la banca electrónica vía un navegador web.

Ahora, me parece que éstas apps por ley de privacidad de datos (Mexicana) tienen que explícitamente declarar que estarán haciendo este rastreo.

Que tal que instalas apps de gente que no está regulada o no le importa seguir la ley y están recopilando toda la data/metadata posible

Recomendación: #SoftwareLibre, tal vez no sea posible usar #Replicant pero si #FDroid
🍻🍻🍻