Brain Dead — Satanic Penetration Review
Brain Dead is an Italian blackened speed metal entity. On 17 October 2025, Brain Dead released their second full-length, Satanic Penetration — co-released via GrimmDistribution and WP and RO Productions.
Brain Dead, Satanic Penetration Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production.
The First Three Sins, The Summary
The First Sin, The Strings/Keys: Stripped-down, blackened speed metal riffing delivered with rusty precision — high-velocity tremolo runs, punk-charged progressions. The Second Sin, The Vocals: Venomous, high-pitched blackened shrieks and throat-ripped screams. The Third Sin, The Percussions: Raw, punk-fuelled drumming built on driving beats and straight double-time bursts.
The Fourth Sin, Overall Discussion
Neon Prelude of Darkness
From the moment the play button is struck, the opening hymn, Prince of Darkness, greets the listener with a strange, synth-driven instrumental and audio clip. It carries a distinct Eighties aura — eerie and nostalgic — serving as a cinematic prelude.
This opening movement is not just atmospheric; it is a calculated buildup, a gathering of shadows before the hellish speed of Satanic Penetration is finally unleashed.
Feral Velocity Unleashed
As the record progresses, nine more unholy hymns lie in wait. Over thirty minutes of profane, feral, and dirty extreme metal are unleashed, blending the cold atmosphere of black metal with high-velocity speed metal and a punk-charged snarl.
The aesthetic is steeped in the grit of Motörhead, the filthy-satanic aura of Midnight, and the sleazy, violent spirit of Japan’s Abigail. It is a sonic chainsaw assault that tears through the senses, designed to leave the brain fried and the soul scorched.
Devilmanship: Rust & Razor
Satanic Penetration showcases a three-piece devilmanship that is as tight as it is old-school — an orchestration built solely to go for the kill. Under’s guitar work feels stripped-down and rusty, as if it were dug up from a forsaken, scorched graveyard. He unleashes high-velocity blackened speed metal riffs with a tone that is dry, abrasive, and frantic, utilising Venom-style primitive chords and Motörhead-inspired gallops.
This assault alternates between sinister punk-like progressions and sudden bursts of vicious soloing, where solos erupt like a knife flash in a bar fight. The bass, driven by a slightly overdriven, Lemmy-esque snarl, cuts through with a clanking authority, occasionally breaking into sliding fills that lead the descent.
It is a chainsaw-through-sheet metal tone that slices through the mix without a hint of modern polish.
Riot Voice & Crash-Ride Violence
Leo‘s drumming feels raw and unpolished, with punk beats driving the speed metal sections and straight double-time bursts — never modern black metal blasting. Tom-run transitions evoke a clear first-wave spirit, while cymbals are smashed with abandon, crash-ride abuse throughout.
Agonia’s vocals are an explosion of high-pitched blackened shrieks and throat-ripped screams, delivered with a pure speed-metal attitude. Coupled with occasional gang-shout choruses, there is a distinct sense of sleaze and swagger here — it is not just dark; it is satanic, violent, and deliberately over-the-top.
These vocals feel spat rather than sung, channelling the raw, unapologetic attitude of Lemmy, Cronos, and Bathory.
It is the sound of someone commanding a riot in a dive bar in hell.
Primitive Fire Doctrine
Satanic Penetration rejects modern polish in favour of pure, violent energy — the true essence of black/speed metal. Built on a raw but not incompetent ethos, the production is intentionally abrasive and gritty without sacrificing clarity. It is a perfect balancing act between primitive energy and functional execution.
The sound is loud and punchy, yet it avoids the modern trap of brickwalling, instead opting for a slight tape-like saturation that gives the record a warm, vintage bite. This is a record that breathes fire rather than cold digital air.
Reptile Brain Triumph
Overall, Satanic Penetration is a rotten and evil fruit of art. It is a sound that remains nasty as a rabid jackal pack, a record that successfully prioritises reptile brain energy over complex technicality.
Filth After the Ritual
By the time the final track cuts out, your ears will feel as though they’ve been pierced by Satan’s own pitchfork. The ritual is over, the damage is done, and the filth remains
The Fifth Sin, The Memorabilia
Brain Dead is a recipe for pure mayhem and destruction. If Venom, Bathory, Midnight, and Motörhead sired a child in a blackened pit, Brain Dead would be the result.
This is not a walk in the park; it is music for those who, like myself, crave uncooked sounds. Satanic Penetration is exactly that — raw, bloody, and relentless.
The Sixth Sin, The Artwork
One word defines it: Old-school.
The Seventh Sin, Disrelish
The only disrelish comes from the physical aftermath. Once the music stops, you are left with the sensation of having your psyche dismantled by a rusty chainsaw. It is brutal, jagged, and exactly what the title promises.
The Hymns
01. Prince of Darkness
02. Speed Laser Penetration
03. Destroy and Erase
04. Knife Between the Eyes
05. Metropolis
06. Power Steel and Fire
07. Letal Scream from the Void
08. Suicide Mania
09. Iron Eater
10. Evil Blades
Brain Dead
Leo — Drums
Under — Guitars
Agonia — Vocals, Bass