Miasmes doesn’t mince words.
Still signed to Les Acteurs de l’Ombre Productions, the trio composed of K. (guitar, Mhorn, ex-Inward), G. (bass/vocals, Mhorn, ex-Impureza, ex-Ritualization, ex-Seth), and C. (drums, Mécréant, Ialdabaoth) has announced its second album, Violence, Blasphemy, and Decay, for 2026.
Déchéance opens with a long, furious scream that sets the tone: the track makes no compromises, pitting blast beats and abrasive riffs against raw vocals. Everything about this track makes us want to snap a few vertebrae while beating up anyone who comes near, as the Black’n’Roll groove hits at full force just like on Ecorché, which opens with searing leads before the vocalist resumes his screams. The famous “ough” kick the accelerations off where the band spews out their notes with fervor, but Nihili weighs down the mix with a slower start, as if the band wanted to take a more haunting and sinister direction—something that clearly suits them only for a moment, since they charge ahead once again. We continue with a first mid-tempo approach on Possédé, once again showcasing its raw side in every respect, but the sound ignites halfway through the track, resuming its frenzied and devastating pace, and even though the track ends as it began, Cendres is there to get the machine going again as it should, striking without frills regardless of the tempo. The catchy final leads to Vomi, a raw, fast-paced track bordering on Black/Grind with its brutal outbursts, then the dissonant melodies resurface with Catharsis, which crushes everything in its path and relies entirely on an unpredictable jerky approach, ultimately living up to its name. The screeching solo fits perfectly into the track, followed by Agonie, which takes on slightly more haunting elements to counterbalance the most intense sections, then treats itself to some feedback before letting Horde take over and restart the onslaught. No surprises here with this track, which relies on its breakneck speed, nor with Rédemption, which immediately follows suit to deliver a similar concept before dropping a Motörhead cover, In The Name Of Tragedy, to keep that catchy touch right up to the very end while staying true to the darkness and ferocity we’ve come to expect from them to close out the album.
Miasmes has kept a relatively low profile, but its fury clearly hasn’t waned in three years! If you want to be properly battered by an abrasive, uncompromising sound, don’t hesitate to dive right into Violence, Blasphème et Pourriture!
85/100