(BOG REVIEW) - 'SORCERY' - THE IMMACULATE SIN (DEATH METAL/OSDM) (RELEASED OCTOBER 1ST, 2026, XTREEM MUSIC)

Good punky death metal with the notable HM-2 sound that had Bog so amped he wanted to climb up a f*-c-k-off slide and use his belly to bobsled down.

1. "Shadowborn" — 0:00-0:34 serves up the intro with some nice solo-ish riffage to wake you up and set the stage for the riff drop that is like a buzzard that accidentally hit his c*-c-k with his beak when trying to peck food.

0:34 opens until 1:26 with a sheer, direct, and in-your-face pace matching the above-described anger contained when nature experiences mishaps in unforeseen moments.

The audio mastering is excellent, and the track composition is already arranged to do one thing, which is "ensuring you run around in a pit like some mucky f*-c-k-e-r named Frank is chasing you with his sewer mouthwash breath."

Bog's headset had this blasting loud, and hearing the riff drop was an "oooo" scenario where Bog did indeed picture that aforementioned slide and took one jump into a muck pool, so his belly could splash every f*c-k-e-r around him. Magical.

The Immaculate Sin is one of those albums: no standing still, nodding your head like a wine appreciation rep at Boring B*s-t-*-r-d-s Monthly. It's from the muck; it's meant to encourage feet without socks to dance around.

There is a melodic edge with the riffing, but it's used to interject horror-like passages from a zombie movie.

The vocals are clean, angry, punky-ish horror with a dirt stench, but are understandable, and pace well with the music. They do not get drowned out, so it's another example of quality arrangement regarding the placing of the vocals.

1:55 starts the breakdown section of the track, which is windmill as f*c-k- and continues until 2:15. There is a nice change in riff structure, and it's a must to swing your head around until the point of falling over.

At 2:15-2:38 we have another nicely synced horror-esque melodic riff passage before the drops come in again from about 2:39 to reignite the redline energy pace like a bike coming out of the chicane to move into the streamline.

The outro drop was super clean and features a very well-timed cutoff. Mixing is good.

Stenchers, get the Bog Bikes! This is superbike metal with punk gears.

2. "Set The World Ablaze" — Foaming! The hardcore influence, which Bog can always hear with OSDM/HM-2 bands. The hardcore, d-beat, punk roots shine through, and they give that extra ounce of energy. It really does come through the music from the intro and throughout with a consistent "Yo, get the f*-c-k- up and mosh, you f*-c-k-s-" vibe.

Take the feel, the adrenaline of track 1, then imagine you are at the start of an MX race. The gate hasn't dropped; you are a little nervous because the rider next to you has his Riders of the Rohirrim beard dropping out of his visor and probably holds the world record for dandruff attached to hair.

The excitement and sheer release of joy when the gate drops and everyone takes the first turn. "Set The World Ablaze" is like someone captured the exact moment of intense fire and bottled it into a blistering can of metal punk death in Bog's opinion. Absolutely f*c-k-i-n-g wonderful.

Okay, Bog takes a breath for a moment; let's scribe a little on what happens with the components on the track.

The drops and transitions with the vocals and riffs are excellent. Dropping this track live would make a room go off into circle pits of mayhem.

The build to the outro is sick and still features the melodic horror tone signature, but Bog stresses it's for the atmosphere. Remember, Mucky Limescale Frank? So, it's utilized to give the track a bite.

The hooks are incredible and drop you in and out, barely allowing anyone a moment to catch their breath.

Hardcore/D-beat punk-fueled death metal at its finest. Bog needs to change his pants again. Stenchers, onward to track 3!

3. "Stand As One or Fall Divided" — Strong classic OSDM vibes with a slower-paced approach. A notable, strong riff on the intro, and halfway through there is a small, kinda traditional heavy metal riff before the buzzsaw sound drops back into the track.

The instrumentation is solid with the vocals retaining their strength. It does sound like a tank rolling across the landscape. Bog didn't quite feel "Stand As One or Fall Divided."

The mixing and layering are good, frequencies are nice, and the fade-out was mega clean.

4. "Terminate" — Vocal timing is good on this one. Musical storytelling with a badass soundtrack.

0:50 brings a slight black-metal-ish riffing on the drop, and the drumming pattern also matches the BM style.

1:01, and we are back on the track, bikes at full throttle, smashing into each other. Scrubbing the dirt and fully unleashed. You can definitely hear the BM influence before the breakdown at 1:56. The horror vibe is up in full, and later the trademark horror-esque melodic riff is back before transitioning back to the black metal influence shining through the track.

It makes "Terminate" sound a little like blackened hardcore partnered with straight-up, no-frills death metal.

The drumming patterns particularly caught Bog's ears, especially as Sorcery is using a different influence as outlined on "Terminate."

Another high-energy offering designed to get people back on the floor and in the pit after a quick run to take a piss, because they have been holding it for too long already; but when the mosh is in full force, sometimes bladder management is required.

Mixing and mastering are pretty sick. The vocals flow with the pace again, so it's another solid offering of structure and arrangement.

5. "Paralyzed" — Starts with strong chainsaw buzz riffage, conveying the image of repairing engines and ripping out parts. The patient build preceding the vocal drop helps draw attention to the horror vibe of the lyrics.

"Paralyzed" succeeds in making the listener think that something is coming to pay them a visit during the night, which you can hear with the vocals.

There are parts where the track transitions into fast, horror-vibed death metal, notable with the first high-speed, paced drop at 2:01. The structure is, once more, high-tier and nicely arranged, along with the instrumentation, vocal timing, and solid audio frequencies.

"Paralyzed" is played and performed well, but it was not one of Bog's favorites from The Immaculate Sin.

The middle breakdown is good, showcasing the riffing, and the vocals reinforce the story aspect, so it was interesting to hear.

4:03 ends the track on the outro section with a furious, high-octane chase to close out, and it ends very cleanly to take us into track 6.

6. "Slice It Up" — Bog didn't quite feel the intro, which is a little long, but the riffs and drumming patterns are sick. It is another patient build with a slow pace, but it's no major issue, because in a set, I'd cut the intro and go straight to the drop to make the beasts pop off in the room.

Objectively speaking, the riffs work to build the dread, but Bog was waiting for the bike gates to drop earlier. That said, once it hits at 1:09, it hits!

Super sick punk style and buzzsaw pedal action again, which just sounded as filthy as showering in piss while covered in oil. The riff note here is really, really nice and brought the foam back to Bog's maw.

"Slice It Up" carries that graveyard feel of running across the mud, and I guess we can say Frank is back for his third attempt to catch you.

Bog enjoyed the riffage and vocal pairing on "Slice It Up," so it was only the intro Bog didn't quite appreciate.

7. "The Door to My Black Soul" — The Scandinavian feel is strong with this one when it begins, and it felt like an angry monster sat in a crypt narrating his story to someone.

There is a fun aspect to the track, and it's nicely woven into the pace of the music. Timing and sync are solid to flow between the headbanging sections and overall tempo. Very well executed transitions and drops, which had Bog bouncing and shouting while listening. Always good to do a degree of roaring to mosh.

Bog detected a small crust-punk-ish vibe near the end section into the fade-out stop, which is cool. D-beat feels are in the background throughout the track, too. Safe to state Bog was riding around to this track because it slays.

So, an interesting track with different layers and hooks that put the listeners back on the bike for the full ride.

8. "The Exorcist" — One of the most direct tracks from The Immaculate Sin and the horror aspect is obvious, which the riffs, drums, and vocals definitely stress. It pretty much drops straight in and grabs hold of you before you even have a moment to strap in.

If you were wanting some speed, this is the fire that goes full flame. Probably one of the most aggressive tracks from the album, and the signature melodic horror-esque riff described on earlier tracks only features very, very slightly.

A sure pit track for sweating profusely.

Mixed, mastered, and audio levels are all a good standard, and slap hard.

9. "Flood" — The intro features catchy, hook-filled riffing again and the buzzsaw is still prominent. It is fast, adrenaline-paced, with good atmosphere and solos, but sadly Bog didn't feel "Flood" hit quite as hard as most of the other tracks, even though the speed is present.

The instruments, syncs, timing, vocals, and atmospheric guitar notes are all on point. Not a bad track, just the previous songs stand out much more.

10. "Die in Retribution" — Very good track to finish The Immaculate Sin and it feels and sounds like a crust punk track with OSDM layering. Bog really liked this track because there is a rawness to it with memorable riff notes, balanced drums, and the vocal timing is incredibly sick. The placement of the vocals is one of the strengths to respect, credit again to the mixing and mastering.

The drumming patterns and riff notes just threw Bog on the bike again surrounded by Bogoids racing across the dirt and scrubbing everything in sight. Beautiful carnage.

Bog closed his eyes at one point while listening and said, "Let's f*-c-k-i-n-g- go!"

It's a five-minute track, but it's more like 2-3 minutes of wall-to-wall slay mosh. Yeah, this is Bog over-amped music through and through. Get it!

A terrific way to close out an album, and "Die in Retribution" is begging for a circle pit. This one would go off so hard live, both from the band playing it and dropping it in a set. You just know, as soon as that drop hits early in the track, there should be no one standing around thinking about moving to the music; it is get back up, and do it.

The outro is a cool fade too with a brief, slower end.

Bog's Thoughts:

The Immaculate Sin is a solid album for sure. There are only three tracks Bog doesn't quite feel, which is pretty good considering it's a 10-track album of mud, muck, mosh, redline octane barrels of speed for the most part.

The Immaculate Sin is horror-themed as stated throughout the review, and it was cool for stimulating the imagination combined with blood-pumping, direct, fast, no-frills, dirt-bike-style raging through the circuit anthems!

It certainly isn't for fans of DIY treasure hunting to find a stupid, small-ass, weird ball they had hit using a strange club stick on lawn fields with some high-society suit man commentating. So, it's not for the slower-paced and faint-of-heart.

Nothing wrong with slow music, just stressing there is a lot of intense, jump-up mosh style with The Immaculate Sin.

The vocals are clean, yet still extreme and harsh, i.e. aggressive without the gutturals. It helped the narrative of the lyrics and generated the encapsulating vibe of the music.

Other areas that caught Bog's ears were the influences used in the music, even on the few tracks he didn't quite feel.

Structurally, the album delivers across audio levels, arrangement, and layering, which is evident with how it represents the timing of the drops, transitions, drum tracking, riffs, and vocals.

All in all, get the f*-c-k- on the bike and ride dirt to Sorcery!