As autumn settles in, most people are probably wrapping themselves in blankets on the couch with a cat and a mug of hot chocolate. Meanwhile, extreme metal had other plans: just a couple of weeks ago, I had absolutely no clue that WRATHFUL DISGUST would drop a full debut album out of nowhere. Yet here we are. Based in Parma, Northern Italy, the black metal solo venture unleashed “Into the Filthy Abyss of Perversion” on September 21st, 2026, via Remote Radiance Records, pulling us into the grim minds of real-life serial killers with razor-sharp lyrical detail.
Behind the project stands Terrifikant (Matteo Cordani of MOTHER AUGUSTA, TULPA, and STRIKEHAMMER), who has never made a secret of his obsession with true crime. Here, that focus becomes absolute, as he dissects the lethal drives and disturbing mindsets behind some of history’s most infamous murderers.
The opening track, “Narcotized, Zombified,” pairs a mid-tempo black metal drive with classic heavy riffs and steady drumming from Nightcrawler (Tomaso Fontanini, his bandmate in MOTHER AUGUSTA). Terrifikant‘s vocals, that gut-wrenching cross between a growl and a scream, carry the weight of the narrative without relying on generic horror clichés, favoring unmistakable real-world details instead: the explicit mention of room 213 leaves zero doubt that Jeffrey Dahmer is the subject here, distinguishing him immediately from any of his infamous “peers.”
With “A Bizarre Abomination,” the pacing stays steady and mid-tempo while the mood turns noticeably grimmer. Once again, the lyrics leave the subject unnamed, challenging the listener to connect the dots through the track’s unmistakable snapshots: a dark house on the edge of town with wooden boards on the windows, nocturnal graveyard raids, a gruesome vest made of skin and bones, and a deceased mother’s sealed-off bedroom. For anyone versed in criminal history, the identity behind the horror emerges in an instant.
“Bloody Jaws” brings a ferocious, measured aggression, punctuated by a chilling guitar interlude before sinking into a slow, funeral second half worthy of early FORGOTTEN TOMB around the “Love’s Burial Ground” era. The guessing game continues through clear, chilling markers: a calculating psychopath masking as a charming king of deceit, violent escapes, a morbid collection of severed heads, and the physical imprint of a violent bite that ultimately exposed him.
Things stay brutally heavy on “They’re Underneath,” marching forward with a crushing, suffocating pace that brings modern FORGOTTEN TOMB to mind once more. The song leans into the horrifying contrast between an upright suburban life and raw brutality, showing that monsters usually look like ordinary neighbors. The lyrical breadcrumbs leave zero room for doubt: a pillar of the community masking as a jovial party clown, handcuffs used as lethal traps, and dozens upon dozens of bodies crammed into the crawl space beneath the floor, exactly as the song title suggests in the first place.
“Monolith of Hatred” keeps things strictly instrumental, relying on a simple, claustrophobic arpeggio that loops over and over with very few tweaks. The track is soaked in a deep, hollow reverb that feels just like the isolated cave where a ruthless enforcer left people to die in the dark. The steady, emotionless repetition mirrors his chilling routine: freezing his targets to throw investigators off his trail, then acting like an average family guy at home. Taking a quick break from our guessing game, the song portrays none other than Richard Kuklinski, a man raised in sheer terror by an abusive father who literally beat his older brother to death, funneling all that untreated childhood trauma and rage into a path of cold, psychopathic violence.
The guessing game is on again with “Necrosadistik,” and the nod to “Citizen X” makes the subject pretty obvious. The structure is harder to predict this time, jumping through different speeds and moods from start to finish. Terrifikant definitely did his homework on this case, using the exact creepy line the killer grew up with: “don’t leave the yard or they will catch you, don’t leave the yard or they will eat you.” Turning that old fear of starving neighbors and cannibalism into brutal music, the song finally explodes into a heavy blast beat near the end, capturing the blind rage of his killings.
For the final chapter, “Letter from a Vampire” pairs a strong, memorable lead riff with a steady, slow rhythm, letting dark atmospheric detours create a genuinely spine-chilling mood. Terrifikant really shines as a lyricist here, pulling off the difficult task of packing years of sickening historical evidence into a few punchy lines that fit the music naturally. Following the “Gray Man” through 1920s New York, the lyrics cover twisted Bible verses, extreme self-harm with needles, and an unspeakable act of cannibalism inside an isolated cottage, before sealing the story with that notorious confession letter. It leaves no doubt about the identity of the killer.
Debut records rarely arrive with this level of focus and grim narrative depth. By treating these real-life horrors with meticulous research and wrapping them in clever musical framing, WRATHFUL DISGUST deliver far more than standard extreme metal depravity. Every track stands on its own feet, fueled by Terrifikant‘s fierce riffs and Nightcrawler‘s relentless work behind the kit.
Handled by Alessandro “Algol” Comerio (bassist in FORGOTTEN TOMB and the driving force behind HIEMS), the mix, master, and production play a big part here, leaving a clear mark and taking Matteo‘s vision to the next level while keeping its raw edge intact. “Into the Filthy Abyss of Perversion” is vile, unsparing, and thoroughly compelling, setting a high standard for where this solo venture goes next.
Written by Licia Mapelli
Tracklist
- Narcotized, Zombified
- A Bizarre Abomination
- Bloody Jaws
- They’re Underneath
- Monolith of Hatred
- Necrosadistik
- Letter from a Vampire
Lineup
Terrifikant – voals, guitars, bass
Nightcrawler – session drums
Label
Remote Radiance Records
