Release Date June 19th, 2026
Format CD/Digital
Genre Progressive Death/Thrash Metal
Origin USA
The friendship of bassist Evie Austin and drummer/vocalist Lucas Moore, started as two musicians who began building songs before the lineup had a guitarist. Austin and Moore first met through school band, with Austin introducing Moore to Black Sabbath, Metallica and Megadeth before he took up drums. Mario Alvarez entered their circle after a 2022 metal concert in Fort Lauderdale, completing the trio in 2022. Their early path ran through a self released demo, Florida gigs and the 2024 EP "In Silent Oblivion". That EP introduced a fast, progressive death/thrash approach with the bass placed far above the usual supporting role. "Upon The Twisted Throne" expands that base into a full album shaped by the South Florida underground and the more adventurous edge of early Florida death metal.
The named references, Atheist, Hellwitch, Sadus, Cynic and Nocturnus, are easy to trace. Atheist appears in the restless bass motion, Sadus in the speed, Hellwitch in the angular riff construction, Cynic in the rhythmic turns and Nocturnus in the strange, futuristic shade around parts of the album. The band has only been active for a few years, though the playing has the discipline of musicians who have spent far more time rehearsing than posing for photographs. This is a young band in age, not in musical judgment. The transition from the EP to the debut is substantial, with tighter structures, broader melodic passages and a stronger connection between aggression and atmosphere.
Inscribed grew through shared discovery and long rehearsal hours, not as musicians assembled around a label plan. The album is fast, intricate and merciless, and its best quality is the way the songs remain readable under all that motion. Across nine songs and just under thirty four minutes, the pace changes often enough to stop the speed from
becoming a blur. Evie Austin’s bass acts as a lead voice, throwing rapid fingerstyle lines beneath Mario Alvarez’s guitar figures and sometimes pulling the music in a different direction before the trio locks together again. Lucas Moore’s drumming is relentless, moving between thrash velocity, death metal blasts and progressive accents. His vocals use a dry death/thrash rasp, not a deep guttural roar.
The album does not reduce itself to a display of skill. Riffs return at useful moments, melodies appear where the attack needs contrast, and the songs rarely dissolve into random collections of notes. Mid paced passages are brief and useful, opening space for melody before another burst of riffing. "Machinery Of War" turns mechanical warfare into personal horror through the image of a pilot trapped inside a dying machine. "On The Stage Of Death", partly inspired by Kentaro Miura’s "Berserk" (a dark fantasy manga series that began serialization in 1989), uses religious extremism and emotional collapse as fuel for one of the album’s more ambitious structures.
Across the album, the lyrics circle corrupt power, social control, war, mortality, isolation and damaged consciousness. These subjects give the title more meaning than a fantasy phrase placed over violent music. They also suit the tense, unstable movement of the riffs. Ferny Coipel engineered and mixed the album at The Shack North, John Sample handled guitar and bass tracking at Sathanas Studios, and Chris Barcia mastered it. The production rejects the compressed modern thrash template. The bass remains prominent, the drums retain a human attack and the guitar has enough edge to stay present beside the rhythm section.
At several points the upper frequencies crowd each other, especially when cymbals, guitar and vocals strike at once, though the raw balance also preserves the frantic character of the trio. Fernando Calero’s additional lead guitar adds another colour and does not turn the album into a solo exhibition. "Upon The Twisted Throne" is a fierce debut, ambitious in form, violent in pace and disciplined in construction. Inscribed has made progressive death/thrash that respects its sources, speaking in their own accent. The album asks for concentration, and then pays it back with riffs, movement and ideas that remain after the final note.
|8.0
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