Skip to main content

Clocking In for the Apocalypse: Subcyst - Death Wage (Track Review) Released: 2/19/25

Chicago's underground death metal scene has always had a capacity for punishment, and Subcyst arrive on "Death Wage" like a wrecking ball swung directly into the sternum. This single wastes no time announcing its intentions from the opening seconds; it establishes itself as a dense, suffocating exercise in controlled brutality, the kind that makes your neck sore and your neighbors hate you. Javier Gauna's vocal performance is the immediate standout. His delivery sits somewhere between guttural slam tradition and the more enunciated attack of classic death metal, giving the track a clarity of menace that many in the genre sacrifice for sheer volume. Every line lands with percussive weight, and his ability to shift between cavernous lows and mid-register snarls keeps the listener unsettled throughout.

Richard Boersma's guitar work is where the song earns its "technical" label without losing its groove. Riffs churn and lock together with mechanical efficiency, but there's enough harmonic dissonance layered in to prevent the whole thing from feeling sterile. The tones are appropriately filthy, thick, downtuned, and processed with just enough clarity to let the note choices breathe. When the breakdown hits, it hits with the kind of slow-motion demolition derby energy that slam demands. The low-end backbone provided by Lucas Pysh on bass deserves particular attention. In a genre where bass often disappears beneath guitar and drum walls, Pysh's presence is felt, adding sub-sonic weight to the slams and anchoring the faster passages so they don't collapse into noise. Behind the kit, Douglas Rodriguez is precise and punishing in equal measure, navigating tempo shifts with confident ease and driving the song's most ferocious moments with blastbeat intensity.

"Death Wage" succeeds because it knows exactly what it wants to be. It doesn't overstay its welcome, doesn't reach for unnecessary flourishes, and doesn't sand off the aggression in pursuit of accessibility. This is death metal built for the pit: technically sound, physically imposing, and genuinely menacing. If this single is any indication of what Subcyst has planned, the Chicago metal underground should be paying close attention. 

Once it gets in your head, it doesn't leave. Check out this visualizer courtesy of Slam Worldwide:


Go give them a follow on Instagram: Subcyst & Slam Worldwide


Comments

Popular posts from this blog

Kentucky's Heavy Secret: Stormtoker - These Edibles Ain't Shit (EP Review) Released: 12/5/25

  Lexington, Kentucky, isn't exactly the first city that comes to mind when you think of the sludge and stoner metal underground, but Stormtoker seems intent on changing that. Their EP These Edibles Ain't Shit arrives like a slow, crushing wave of amplifier worship and chemically-assisted existential dread, and it makes a compelling case that the Bluegrass State has something mean and heavy brewing beneath its surface. Stormtoker is a fierce, impassioned force of nature, a band that feels like devout disciples of Ozzy Osbourne who came of age at the turn of the millennium but refused to let the roots of heavy metal die.  With sonic DNA tracing back to Cream, Hendrix, King Crimson, and even Arthur Brown, they summon an alluring sound that entrances as much as it pummels. This is a band equally at home in the sludge pit and the alt-rock headspace, a melodic restlessness running beneath the downtuned grime that keeps things unpredictable and owing as much to the 90s alternative u...

Brutal Descent into Darkness: Heliophilia - Fire, Borne Of The Sky (Track Review) Released 3/8/26

There's something genuinely impressive about a two-piece act that can conjure a wall of sound dense enough to feel like a full band assault, and that's exactly what Marinette, Wisconsin's Heliophilia accomplishes on "Fire, Borne of the Sky." Comprised of Michael Vandermuse and Kyle Bush, this underground metal duo has crafted a track that blends deathcore brutality, black metal atmosphere, and dark fantasy storytelling into something that feels far bigger than its two-person lineup would suggest.  From the outset, "Fire, Borne of the Sky" makes clear that this isn't going to be a conventional metal track. It opens with an eerie, synth-driven low-frequency atmosphere that immediately sets a tone of dread before the track explodes into cavernous, down-tuned guitar riffs and crushing drum work. That contrast between quiet menace and overwhelming heaviness becomes the song's defining structural choice, and it's one that Heliophilia leans into ...

The Peace Found on the Other Side of Fear: January - Good Day To Die (Track Review) Released: 7/10/26

  There's a particular kind of confidence that comes from a band that isn't trying to be anything other than what it is, and January's "Good Day to Die" has it in spades. Hailing from Quincy, Illinois, a river town that isn't exactly known as a hotbed for rock music, this trio plays Midwest rock in its purest, most unpretentious form. No gimmicks, no genre-hopping, no chasing whatever's trending this month. Just three musicians who know exactly what they're going for, and hit it dead center. That's not a small thing in 2026, when so much of guitar-driven rock feels like it's either nostalgia-baiting or trying too hard to sound "modern" by bolting on production tricks that don't belong. January doesn't seem interested in either impulse. "Good Day to Die" sounds like a band that grew up on classic rock radio and bar-band Saturday nights, filtered through whatever specific chemistry exists between these three people,...