Written by:	nikarg, musclassia, Starvynth, Thryce, X-Ray Rod
Published:	March 09, 2025

Clandestine Cuts Volume 15, Issue #2
The Metal Storm Demo/EP Spotlight



Is independent, unsigned, and underground metal what you seek? Weary traveller of the metal world, rest here a while. Clandestine Cuts are the best demos and EPs from these bands, the heart and soul of metal music. These musicians are slaves to their passions, and their blood keeps the metal machine alive and turning. Support them with a simple listen, and discover the future.

Metal Storm users: you can vote in the poll below to choose your favourite demo/EP of the issue. The winners each year are nominated in our annual Metal Storm Awards, so exercise your rights: this is the one category chosen completely by YOU the readers. Make sure your favourite independent metal is recognized each year!

(Do you think your band has what it takes to be featured in the Cuts? Email demos at metalstorm dot net to submit your music.)

In case you're new to this, go back and enjoy our last few issues:

Clandestine Cuts Vol. 15 #1
Clandestine Cuts Vol. 14 #12
Clandestine Cuts Vol. 14 #11

And now to the new music...

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Tria Prima is a new death metal band from Ukraine, although simply branding them ‘death metal’ is quite the understatement. The three compositions on this debut EP blend the old-school sound of the genre with keyboards, symphonic and even gothic elements, operatic backing vocals (“Solar Sulfur”), while there are also doomy sections, thrashy riffs, and d-beat drumming. Conceptually, the band delves into alchemy and its different forms, while musically, it is pretty impressive how successfully and seamlessly they weave different sounds together. The riffs have groove (“Philosopher’s Mercury”) and heaviness, the solos are sick (“Witchcraft Salt”), and the main vocals allude to Martin van Drunen, so it makes total sense that Three Primes Of Alchemy concludes with a sick cover of Asphyx’s “Deathhammer”.

by nikarg

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Partir, a self-proclaimed depressive suicidal black metal band from Tracuateua, Brazil, has released their debut EP that lingers like a dream you don’t want to wake up from. ‘Nostos Algos’ comes from the Ancient Greek root of the word ‘nostalgia,’ describing the pain of an unfulfilled longing to return to a place, time, or state of being – a wistful feeling that serves as the ideal backdrop for this release. And what better way to capture that aching nostalgia than through the warm, ghostly hiss of a cassette recorder? Blending blackgaze with tasteful darkwave elements and post-punk influences, Partir creates a sound that is both haunting and strangely addictive. The rasping vocals are as smooth as sandpaper on bare skin: harsh, imperfect, yet gripping. The music itself is surprisingly easy to sink into, despite its jagged, glass-sharp edges. The lyrics, sung in Portuguese, dive into themes of emptiness, longing, and existential despair – or so Google Translate assures me. But honestly, no translation is needed to feel the weight of it all. This EP is diverse, emotionally raw, and worth every repeat listen.

by Thryce

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LA four-piece Cartographer are yet to find a record label for their music, but given the traction that their initial EPs are generating, that seems unlikely to be the case by the time they get around to producing and releasing a full debut; not that they need a label when their output is already sounding this crisp. Following 2023’s Metamorphosis, the band have taken a jump forward with EP number two, A Flair For The Obscene, a 25-minute slab of hooky djent that bears the hallmarks of Periphery in both its crunching tones and accessible pop-tinged hooks, especially those delivered by impressive vocalist Skies Marie. The record also draws in elements from catchier math-associated styles, however, with several songs owing aspects of their existence to the Swancore sphere of post-hardcore (moments here and there send my mind to Eidola, or even acts like Covet), as can be picked up on the likes of “Rewind”. With a propensity for accessible memorability paired with instrumental complexity, Cartographer seem destined for greater things.

Listen on Apple Music | Spotify | YouTube Music

by musclassia

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Four Brazilians came together to recreate the riffs and atmosphere of the early Black Sabbath albums in this self-titled EP. Thematically, this release explores existential issues, using myths, such as the encounter of Oedipus and the Sphinx or the one about Elizabeth Bathory, to convey the messages. Musically, the album is based on André Carvalho’s absolutely badass, Iommi-proud riffs, and on the versatile, compelling voice of one lady named Teresa Clara, who can both lure in and frighten the listener with equal conviction. Summa play some big and meaty sludgy doom on here, and it all comes with an excellent cover art looking a bit like Jane Doe buried in thick smoke, with the band’s psychedelic logo placed on top.

by nikarg

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I know that many of you are waiting for a new Mgła album. I also know that mentioning another band before the one you are reviewing is not ideal. But at least, let me guarantee you this: Belgian Leegte is the first newcomer I’ve heard that actually reaches some of the highs set by the Polish giants. This is black metal for those who love hypnotic riffs to be repeated until the end of times, for those who crave dark atmospheres, both solemn and adrenaline-filled, and for those who value the fearsome power one fantastic drummer can hold. Because goddamn is the drumming good on Finis. The first song will easily rank among my favorite black metal songs of 2025. I can’t remember the last time I’ve heard a song by a new band and immediately thought “I’d love to experience this live”. I’m sure you will feel the same as the build-up starting from the 2:45 mark rages on like a storm levelling a city. When Leegte slows down, ambient interludes creep in as well as Cascadian black metal riffs à la Wolves In The Throne Room, further enriching this EP. Leegte released one demo and EP in 2019. Both were very raw but also very promising. These past 6 years have shown remarkable growth, and you will do well in keeping an eye on this project.

by X-Ray Rod

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In biology, "karyorrhexis" refers to the destructive fragmentation of a cell nucleus. Could there be a better name for a death metal band than the ultimate disintegration of the fundamental building block of all life? Calling their first release a demo is a clear understatement, because Graven Odes offers neither rough rehearsal recordings nor hastily thrown-together filler material, but rather five original compositions captured in an organic production quality that is optimal by death/black metal standards. Behind the fitting cover artwork ("The Reaper" by Stevan Aleksić) lie 30 minutes of music that cover a broad spectrum of extreme metal. Karyorrhexis predominantly leans towards dissonance, often evoking bands like Incantation or Immolation, but they’re also unafraid to incorporate hefty doses of slow, crushing doom and even some melodic, almost atmospheric passages. What is particularly remarkable is how well Brandon Gawith’s (Vahrzaw, Eskhaton) technically skilled and varied drumming harmonizes with the guitar, bass, and vocals—one would never suspect at any point that only two musicians were involved in creating the dense sound of this impressive debut.

by Starvynth

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