{"id":230173,"date":"2026-01-27T17:28:58","date_gmt":"2026-01-27T16:28:58","guid":{"rendered":"https:\/\/www.angrymetalguy.com\/?p=230173"},"modified":"2026-01-27T17:28:58","modified_gmt":"2026-01-27T16:28:58","slug":"malignant-aura-where-all-of-worth-comes-to-wither-review","status":"publish","type":"post","link":"https:\/\/www.angrymetalguy.com\/malignant-aura-where-all-of-worth-comes-to-wither-review\/","title":{"rendered":"Malignant Aura – Where All of Worth Comes to Wither Review"},"content":{"rendered":"

\"\"The marriage of death and doom is a well-trodden path, but Malignant Aura<\/strong><\/strong>’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me<\/em> was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither<\/em>, arrives to push Malignant Aura<\/strong><\/strong> out of the nether realm and into a world all their own.<\/p>\n

Where All of Worth<\/em> picks up where Abysmal Misfortune<\/em> left off. Opening with a series of gongs, the title track’s Mournful Congregation<\/strong><\/a> of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura<\/strong><\/strong> could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace<\/strong><\/a> and OSDM legends Incantation<\/strong><\/a>. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive\u2014mostly exceeding ten minutes\u2014weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura<\/strong><\/strong>’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.<\/p>\n