Building on 2022’s ‘Pain Remains’, Lorna Shore have returned to haunt us with a skull-crushing record designed to rot your brain to the core. The title alone—’I Feel the Everblack Festering Within Me’—speaks volumes. What follows is nothing short of a musical horror show. So strap in and brace for impact.

‘Prison of Flesh’ is about as brutal as it gets for an opener, both musically and lyrically. Will Ramos explains how it draws from the history of dementia within his family, and the way this track manifests that is painfully accurate.

Starting with the video, the band perform in a blood-soaked rainstorm with unsettling scenes that mirror the illusions experienced by those battling dementia. The horrifying reality of watching a loved one’s identity slowly crumble is something that’s almost impossible to put into words. Trigger warning: to some, this is not an easy watch—it’s graphic, gory, and occasionally disturbing. But that’s part of Lorna Shore’s identity. They don’t just present their ideas through music—they visualise them in a way that few bands can, and they don’t hold back.

As for the sound, it’s hard to know where to begin. This is an epic, cinematic take on symphonic deathcore executed at the highest level. Starting with Will Ramos—his vocal performance is nothing short of staggering. At just 31, his versatility eclipses that of many veterans. He shifts between fry screams, growls, pig squeals, snarls and more techniques at lightning speed, to the point where it feels like he could voice an entire cast of characters on his own.

On drums, Austin Archey matches that intensity with sheer athleticism. His playing is relentless—blistering double kicks, rapid-fire blast beats, and fills that remain impressively clean despite the speed. Plenty of drummers can play fast, but doing it tidily is another level entirely. And when those trademark bass-drop breakdowns hit, you know you’re in for a long day.

Guitarist Adam De Micco and keyboardist Andre O’Connor form a dream pairing, driving the album’s melodic and atmospheric vibes. Adam’s riffing and lead work are razor-sharp, while Andre’s spooky, diminished chord progressions amplify the sense of dread running throughout.

‘Oblivion’ keeps the intensity high with a suspenseful fade-in intro before all hell breaks loose. Austin Archey’s inner beast fully emerges as he unleashes a barrage of blast beats backed by heel-toe technique—a skill rarely mastered, even among the most decorated drummers when playing at such extreme tempos.

Will once again proves why he’s the perfect man for the job, fiercely showcasing his vocal range like a superhero unleashing every power in combat. His interpretation of the song’s concept is impeccable. Discussing the lyrics, he described imagining “a post-apocalyptic world” where humanity has lost its mind and paid the price for destroying the planet beyond repair. His repeated, desperate cries of “what have we done?” evoke feelings of fading hope and overwhelming guilt as we stare into the abyss while Mother Nature has the last laugh at our expense.

Meanwhile, Adam and Andre reinforce the track’s bleak tone with dramatic melodies that reinforce Oblivion’s gloomy timbre. Austin opens the floodgates, refusing to give listeners a rest by chucking in some more tempo changes this time, testing how far they can go without removing headphones in exhaustion.

‘In Darkness’ serves as a clever bridge into a noticeable shift in tone, paving the way for a more empowering atmosphere across the next four tracks. Slightly slower tempos, fewer oppressive choirs, and subtle key changes in the outro all signal this transition, alongside lyrics that feel more uplifting by comparison. One thing Lorna Shore executes remarkably well throughout this album is their ability to craft aggressive yet subtle transitions that mark the beginning of new chapters. Listening back from start to finish, the record flows almost like an opera, with every movement feeling carefully timed and purposeful.

‘Unbreakable’ is the start of where this all comes to life. Will’s screams may contain the same viciousness but for the first time, we get to hear fragments of frailty creep through as if you just melted his heart. Not many singers within extreme metal can project such deep feelings in the way that he can. Adam tones down the anger ever so slightly by playing in a melodic way that hadn’t been heard yet. Austin too plays his part by giving the other instruments to breathe while keeping his signature blast beats. Again, it’s ever so subtle, but it makes all the difference on the impact it has on listeners. My only real criticism is a slightly forced breakdown that interrupts the song’s momentum, though it’s hardly enough to derail the experience.

‘Glenwood’ is one of the most emotional tracks of the album. (Then again, this is Lorna Shore—there’s always at least one tearjerker hidden somewhere among the chaos, so sensitive souls should keep a box of tissues nearby.) It explores Will Ramos’ estrangement from his father following a broken relationship. As the years went by, however, he longed to return home, close an old chapter, and seek reconciliation. In the end, peace appears to be found, with the video culminating in a beautifully captured embrace between the two after what feels like an eternity apart.

Adam De Micco leads the instrumental charge by pouring his soul into every melody and harmony, while Austin Archey demonstrates why he stands out in the deathcore world when it comes to dynamics management. Meanwhile, Will Ramos seizes the opportunity to deliver one of his most heartfelt performances. It’s clearly in his DNA to tell stories this way. Despite relying entirely on screamed vocals, he still finds ways to cut through the toughest plot armour without resorting to clean singing—something many vocalists in the genre would likely have turned to to achieve the same effect.

After another transition-style track (‘Lionheart’), I Feel the Everblack Festering Within Me descends back into darkness. ‘War Machine’ stands out as one of the album’s more experimental moments, sounding noticeably different from anything that came before it. The eerie effects and synth work create a cliffhanger-like feeling, almost functioning as a suspenseful interlude designed to keep listeners on edge. In addition, cleverly crafted diminished chord progressions toys with the mind, constantly hinting that another twist is coming.

‘A Nameless Hymn’ fully confirms that suspicion with an apocalyptic introduction that feels like the soundtrack to the end of the world itself. Andre O’Connor’s darker side is revealed, his weaponised keyboards delivering one final choir of doom loaded with echoes of Mozart’s Requiem. It’s the kind of track that sounds like the backdrop to your worst nightmare—descending into hell while Satan prepares his torture chamber. Will sounds like a man possessed, pushing his screams to terrifying extremes, while Adam and Austin enter into full attack mode, taking pleasure in overwhelming inexperienced fans beyond breaking point.

‘Evermore’ closes out what has been an epic journey and yes—surprise surprise—it’s yet another beautifully touching track capable of reducing listeners to tears, so you may want a bucket nearby to catch them all. However, no matter how moving the song may be, I can’t help but feel that the album should’ve concluded with ‘A Nameless Hymn’. That track has a sense of finality written all over it and would have served as a perfect closing statement while leaving audiences eager for what could be a promising sequel.

Many people have criticised Lorna Shore for the length of their songs and the heavily processed nature of their sound, but that all feels like part of the psychological experience they aim to create. Once again, they’ve struck a strong balance between overwhelming intensity and giving listeners enough room to absorb what’s actually being played without descending into complete overkill. With a bit of patience and a willingness to dig deeper into the themes behind the music, there’s a great deal to appreciate here—even for those who may not end up calling it their favourite record of all time.

I Feel the Everblack Festering Within Me was released on September 12 2025 via Century Media Records