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CA State Senator Sasha Renee Perez: The deadline for FEMA, SBA and EDD assistance is this Monday, March 31, 2025. It is also the final day to request free debris removal.
(Links to forms and more details in webpage)
Do not hesitate to contact my office if you need assistance at (626) 304-1086 or (916) 651-4025.
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CA State Senator Sasha Renee Perez: The deadline for FEMA, SBA and EDD assistance is this Monday, March 31, 2025. It is also the final day to request free debris removal.
(Links to forms and more details in webpage)
Do not hesitate to contact my office if you need assistance at (626) 304-1086 or (916) 651-4025.
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CA State Senator Sasha Renee Perez: The deadline for FEMA, SBA and EDD assistance is this Monday, March 31, 2025. It is also the final day to request free debris removal.
(Links to forms and more details in webpage)
Do not hesitate to contact my office if you need assistance at (626) 304-1086 or (916) 651-4025.
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CA State Senator Sasha Renee Perez: The deadline for FEMA, SBA and EDD assistance is this Monday, March 31, 2025. It is also the final day to request free debris removal.
(Links to forms and more details in webpage)
Do not hesitate to contact my office if you need assistance at (626) 304-1086 or (916) 651-4025.
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Proof of Government Corruption!
======================
I am a whistleblower against the U.S. Department of Veterans Affairs
By co-incidence the California EDD failed to pay me Unemployment Benefits that I am legally owed. The payment was due 1 year ago. They have driven me to homelessness.
https://drive.proton.me/urls/WRDT9NCVW0#9egyLSSG5pb3
This happened on Biden's watch. Corruption in broad daylight!!!
Here is some context about the whistleblowing incident:
Wrongful termination related to wage theft and raising questions about Accenture Federal Services mismanagement of Federal projects.
Specifically: why do we use closed source software for public funded projects, such as processing Veteran benefits?
My account to California, EDD:
https://drive.proton.me/urls/57KG4N0MPG#QJ0hpGhsxKuH
California Judge rules in my favor:
https://drive.proton.me/urls/FNJFRJNXF4#XPJjXTbgRAUe
#EDD #California #GovernmentCorruption #Biden #Democrat #DNC #MAGA #homeless #homelessness #EqualRights #Justice #RNC #GrayDigital #AccentureFederalServices #AFS #Accenture #Oracle #Veteran #Veterans #USVeteran #USVeterans #FOSS GNU Project #FSF #Perl #Java #JusticeForAll #OpenSource #whistleblower #whistleblowing #Software
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The latest episode of 'Create. Share. Engage.' is live in which Edd Bolton from Solent University talks about supporting students and staff who create competency portfolios using #SmartEvidence in #Mahara.
Listen in your podcast app or at https://podcast.mahara.org
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Inscriptions 2022/2023 sur le site Bâtisseurs de Possibles jusqu'au 09/11! Mais ce n'est pas obligatoire pour se lancer ! Vous venez ?
https://youtu.be/v2F68SVnsbk#BDPprojet #EDD #developpementdurable #ecologie #EMC #designforchange #pedagogiepositive #teampe #cycle2 #cycle3 #cycle4
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A new @CypherCon #HackerHistory is out!
This time I'm talking to Dr. Laura Scherling, EdD, Rachael Tubbs, and Ben Schmerler. Laura wrote a book titled "The Future of Hacking" and Rachael and Ben join us because IoT Village is ten years old (time sure does fly), and are part of Laura's book.
It's a super fun conversation where we cover some past, present, and future of hacking
https://hackerhistory.com/podcast/the-history-of-laura-rachael-and-ben/
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A new @CypherCon #HackerHistory is out!
This time I'm talking to Dr. Laura Scherling, EdD, Rachael Tubbs, and Ben Schmerler. Laura wrote a book titled "The Future of Hacking" and Rachael and Ben join us because IoT Village is ten years old (time sure does fly), and are part of Laura's book.
It's a super fun conversation where we cover some past, present, and future of hacking
https://hackerhistory.com/podcast/the-history-of-laura-rachael-and-ben/
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A new @CypherCon #HackerHistory is out!
This time I'm talking to Dr. Laura Scherling, EdD, Rachael Tubbs, and Ben Schmerler. Laura wrote a book titled "The Future of Hacking" and Rachael and Ben join us because IoT Village is ten years old (time sure does fly), and are part of Laura's book.
It's a super fun conversation where we cover some past, present, and future of hacking
https://hackerhistory.com/podcast/the-history-of-laura-rachael-and-ben/
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A new @CypherCon #HackerHistory is out!
This time I'm talking to Dr. Laura Scherling, EdD, Rachael Tubbs, and Ben Schmerler. Laura wrote a book titled "The Future of Hacking" and Rachael and Ben join us because IoT Village is ten years old (time sure does fly), and are part of Laura's book.
It's a super fun conversation where we cover some past, present, and future of hacking
https://hackerhistory.com/podcast/the-history-of-laura-rachael-and-ben/
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A new @CypherCon #HackerHistory is out!
This time I'm talking to Dr. Laura Scherling, EdD, Rachael Tubbs, and Ben Schmerler. Laura wrote a book titled "The Future of Hacking" and Rachael and Ben join us because IoT Village is ten years old (time sure does fly), and are part of Laura's book.
It's a super fun conversation where we cover some past, present, and future of hacking
https://hackerhistory.com/podcast/the-history-of-laura-rachael-and-ben/
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So pleased! A #research #article I #edited for an #author–#client, Kimberly Hreha, EdD, OTR/L, was published today in the American Journal of #Occupational #Therapy: "Relationship Between Visual Functions and Independence in ADLs and IADLs Among Community-Dwelling Older Adults." https://tinyurl.com/ye23w4xa
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Great time tonight introducing prospective students to our #HigherEd Ed.D. program with my #FairleighDickinson colleagues!
If you’re ready to take the next career step as a scholar-practitioner, our Ed.D offers flexible pathways within an online format, preparing you to use inquiry and data to make meaningful, sustainable, and equitable change. You can still apply for a January 2025 start in our CPED-affiliated program!
To Get Started with info about our program: https://online.fdu.edu/online-degrees/edd-doctorate-higher-education/
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In his episode of 'Create. Share. Engage.', Edd Bolton from Solent University outlines why he loves #SmartEvidence in #Mahara. There's lots of potential to make it even better. Get in touch if you want to co-sponsor changes. https://podcast.mahara.org #portfolio #CompetencyAssessment #CompetencyBasedLearning
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Analogue 3D to nowa konsola oparta na technologii FPGA, która ma na celu odtworzenie doświadczenia gry na Nintendo 64 w rozdzielczości 4K. Urządzenie zostało zaprojektowane, aby zapewnić 100% kompatybilność z oryginalnymi grami N64 ze wszystkich regionów. Konsola wykorzystuje chip Altera Cyclone 10GX FPGA, który jest najwydajniejszym układem FPGA, jaki Analogue kiedykolwiek zastosowało w swoim produkcie.
https://retrododo.com/analogue-3d-finally-revealed-alongside-pre-order-information-tech-specs/?utm_source=feedly&utm_medium=rss&utm_campaign=analogue-3d-finally-revealed-alongside-pre-order-information-tech-specs💰 WSPARCIE:
https://tipply.pl/u/retrogralnia
https://patronite.pl/RetroGralnia
https://www.youtube.com/retrogralniapl/joinNowa wysokiej jakości gra została wydana na ZX Spectrum – a jej tytuł to „Mijadore 2 The Key”. W tej platformówce gracze wcielają się w postać Milko Jonesa, którego zadaniem jest usunięcie starożytnego klejnotu z wazy Mijdadore, chronionego przez potężną tarczę.
https://www.indieretronews.com/2024/10/mijadore-2-key-edd-has-released-another.htmlKartridż C64 V9958 to nowa karta graficzna zaprojektowana przez Christiana Forstreutera, która ma na celu rozszerzenie możliwości graficznych komputerów Commodore 64 i 128. Karta ta korzysta z procesora wideo Yamaha V9958, który jest kompatybilny wstecz z modelami V9938 i TMS9918/9928 używanymi w wielu starych komputerach domowych – takich jak np. MSX2.
https://www.commodore-news.com/news/item/12843/en/desktopAtari wprowadziło na rynek zestaw z szklankami i karafką w kształcie joysticka, który może być idealnym prezentem dla eleganckiego gracza
https://retrododo.com/atari-joystick-decanter-set-could-be-the-most-sophisticated-gaming-gift-ever/Andy Davidson, twórca kultowej serii gier *Worms*, ogłosił, że pracuje nad nową wersją *Worms Directors Cut* na komputer Commodore Amiga, zatytułowaną roboczo *Worms DC 1.5*. Aktualizacja ta ma być darmowa i jest planowana na styczeń 2025 roku podczas szwedzkiego wydarzenia komputerowego GERP.
https://www.timeextension.com/news/2024/10/worms-original-creator-is-set-to-release-a-new-directors-cut-next-year-for-amigaNa stronie Indie Retro News pojawiła się informacja o nowej grze w przygotowaniu dla Amigi, zatytułowanej „Duel”, której twórcą jest Electric Black Sheep. Gra jest remakiem klasycznych gier kowbojskich/strzelanek z maszyn Z80, które nieco wyprzedzały erę Commodore 64.
https://www.indieretronews.com/2024/10/duel-wip-remake-of-classic.html**Tiny Pixel Adventure** to nowa gra retro na Commodore Amiga, stworzona przez HooGames2017. Gra oferuje klasyczną grafikę pikselową oraz wciągającą ścieżkę dźwiękową, które tworzą unikalne doświadczenie na każdym poziomie.
https://www.indieretronews.com/2024/10/tiny-pixel-adventure-classic-pixel.html
https://hoogames2017.itch.io/tiny-pixel-adventureNintendo Sound Clock: Alarmo to nowy produkt, który podbi serca i pokona kieszenie fanów. Łączy funkcje budzika z elementami gier Nintendo. Urządzenie kosztuje około 99,99 USD i posiada 2,8-calowy kolorowy ekran LCD, na którym można wyświetlać postacie z gier takich jak Mario czy Zelda
https://www.nintendolife.com/reviews/nintendo-sound-clock-alarmo-pricey-but-delightful-and-something-only-nintendo-could-pull-off
https://www.nintendolife.com/news/2024/10/psa-dont-be-alarmed-nintendos-new-clock-isnt-a-limited-time-productMiSTer FPGA otrzymał aktualizację dla rdzenia SNES, wprowadzającą długo oczekiwaną funkcję zapisu stanu gry. Chociaż zapisy stanu są powszechne w emulatorach programowych, ich implementacja na urządzeniach FPGA, które symulują działanie sprzętu, jest bardziej skomplikowana.
https://www.timeextension.com/news/2024/10/mister-fpga-snes-core-gets-a-much-requested-featureMontezuma’s Revenge: The 40th Anniversary Edition to odświeżona wersja klasycznej gry platformowej z 1984 roku, opracowana przez Eastasiasoft Limited. Gra zostanie wydana na Steamie w 2024 roku jako remake w stylu 2.5D.
https://www.oldschoolgamermagazine.com/montezumas-revenge-the-40th-anniversary-edition-2/🔴 ZASUBSKRYBUJ NASZ KANAŁ!
https://www.youtube.com/retrogralniapl?sub_confirmation=1🔴SERWER DISCORD RG
✅ FACEBOOK:
http://www.FB.com/RetroGralnia✅ STRONA:
https://retrogralnia.pl✅ MUZEUM GRY I KOMPUTERY MINIONEJ ERY:
#RetroWieści #RetroGaming #TheGameIsNotOver
https://retrogralnia.pl/%f0%9f%93%b0-budzik-karafka-a-moze-nowe-nintendo-64-na-fpga-retro-tydzien/
#analogue3D #analogue3dFpga #analogue3dKonsola #fpga #fpgaAnalogue3d #fpgaNintendo #graRetro #granieRetro #gryRetro #konsolaAnalogue3d #konsolaRetro #Nintendo64 #nintendo64NaFpga #nintendoFpga #noweNintendo #noweNintendo64 #retroGra #retroGralnia #retroGry #retroKonsola #retroKonsolaDoGier #retroKonsole #RetroGaming #retrogralniaNintendo #retrogralniaNintendo64 #retrogralniaTydzieńZRetro #TheGameIsNotOver #tydzieńZRetro #tydzieńZRetroRetrogralnia
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Nú ber eisini til at posta her á Mastodon #efo umvegis Buffer https://buffer.com/mastodon
Tað er snilt, um tú er virkin á fleiri pallum (Facebook, LinkedIn, Instagram, TikTok) ella um postarnir ikki skulu avstað beinan vegin.
Eg eri farin at brúka tað til @edd, soleiðis at dagsins orð frá í gjár verður postað 1 minutt yvir miðnátt - eisini um eg ikki siti við telduna tá.
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Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Stuck in the Filter: November/December 2025’s Angry Misses By KenstrosityBrutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.
Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!
Kenstrosity’s Knightly Nightmare
AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]
I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.
This Used To Be Heaven by AngelMaker
ClarkKent’s Sonic Symphonics
Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]
A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.
COLOSSUS SUPREMA by BRAINBLAST
Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]
If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.
Escape the Wonderland by Gods of Gaia
Grin Reaper’s Frozen Feast
Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]
Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.
Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]
I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.
Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]
I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.
Thus Spoke’s Random Revelations
The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]
I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.
Recursive Infinity by The Algorithm
Owlswald’s Holiday Scraps
Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]
Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.
Entanglement by Sun Of The Suns
#2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ -
Patreon supporters received access to this review on October 2nd, 2024.
On May 3rd this year, Pro Zay released this collaborative album with underground MVP producer, Sadhugold. I’ve been meaning to review this album since before it even dropped, but life hit me hard this year as many of you are aware. I actually think now is the perfect time for me to be covering this record though. The title of this project resonates more than ever. That’s really how I’m feelin’ at this point in time. I’m happier now than I’ve been in years, so I really do feel like I pulled gold out the mud. It’s of course referring to events that have taken place in Pro Zay’s life, but I can relate to it in a sense. Anyway, Pro Zay is already rolling out his follow-up to this project with Boots the Blessed, so I wanted to make sure I didn’t fall too far behind on his discography. This is another one of the better albums of the year for me, so I had to share it with y’all. I’m planning on copping the cassette once I get my bread up, so hopefully it doesn’t sell out before that happens.
https://f4.bcbits.com/img/0035900106_10.jpg
I don’t actually think I’ve ever really written about Sadhugold in depth, but I generally enjoy his work. I think he’s a super creative producer, and his rapping isn’t too shabby either. My favorite thing he’s done might actually be that Czardust project with Ohbliv. That one was really cool honestly. Wow. That was five years ago. Time really flies, man. Anyway, let’s get into it…
The album begins with the Cancun Intro. The first time I listened to this track, I was walking to the smoke shop near my campus. I can visualize the experience in my head right now. Every time I play this song, it takes me back to that walk. I think the high-pitched sound that Sadhugold used as the backbone of the instrumental is cacophonous in the best way possible. It sounds really cool to me. With that said, a lot of rappers would not sound good over this. I think Pro Zay fits over it really well though. His signature delivery is just as grimy as the beat itself.
Massage seats in the whip, leather smell like piff
Used to meet 'em in the alley, smell like piss
Here, take a sample, take a sniff
One hit, they doin' backflips, immaculate fixThe tone of the lyricism certainly matches the soundscape. If this was just an instrumental I would probably think it was too long, but the lyrics from Pro Zay help to keep things interesting. It’s a really dope track.
Track 2 is called Time to Go. I can tell that this track would go crazy live. The beat has a lot of energy, and I love Pro Zay’s flow over it. Just like with the previous track, I think Pro Zay himself is what really makes this song enjoyable for me. The beat is by no means bad, but it wouldn’t really stand out to me much on a beat tape. Pro Zay just fits over it though. There’s a noticeable confidence in his delivery. He sounds very comfortable over this beat.
Rather be carried by 6, don’t even trip when it’s my time to go
Designer blow, water under bridge, gotta pay the toll
Walkin’ on water from the hole in my sole
Shit, I’m Texan, two-steppin’ walkin’ ’round with my weapon
Smith & Wesson that block your blessing, shit expected
This ain’t even my warm-up yet, I’m still stretchin’Pro Zay’s writing is actually really dense. There are a lot of layers here that you might not realize on first listen. The line about water under the bridge and having to pay the toll is ostensibly a reference to the iconic entendre from one of the best episodes of It’s Always Sunny in Philadelphia, The Nightman Cometh.
Pro Zay built upon that entendre by extending it with a homophone. I interpreted the last line about how he’s still stretching as a reference to cooking up dope. I don’t know if his writing has drastically improved or if I’m just better at recognizing things like that these days. Either way, I’m happy about it. This song is really great. Despite the aggressive vibe, the lyrics are kind of uplifting at certain points.
You good at all, master of none, knowledge missed your mental
That ain't no L, that's just a lesson
Keep your head up my G, why you cryin', get to steppin'He’s really spittin’ that wisdom here. The hook doesn’t really differentiate itself from the verses sonically, which isn’t necessarily a good or a bad thing. I guess it just depends on your perspective. The first time I heard a song that had a similar characteristic, I really didn’t like it. I’m a lot more open-minded these days though, so I didn’t really even think about it until I started writing this to be honest. I really dig the song.
Recipe is the first major highlight for me, and it features Estee Nack. The production here is pretty incredible. I love how minimalistic it sounds. The percussion here is excellent, and the primary loop that forms the backbone of the beat is really dreamy. Pro Zay went absolutely crazy on this one too. His flow is so good here. I love it.
The mattress has the cash flow
Studied the craft off the man with the mask on
The flask full, but the glass half empty
Aim for fetty, you need a pack or you owe pay if they sent meThat’s so fire, man. That DOOM reference was really cool. I feel like Zay’s writing often gets overshadowed by the eccentricity of his vocal approach, but if you really listen closely you’ll see how much he’s killin’ it. The rhyme pattern in the hook is superb as well. The second verse is by Estee Nack, towards whom I’ve been a bit ambivalent in the past. I think he fits really well here though. I think he’s an undeniably skilled MC. However, something about his flow and vocal delivery makes it difficult for me to understand what’s being said sometimes, so a lot of his bars don’t stick with me personally. With that said, I loved his verse here.
Shorty just got her a new BBL
Youngin' was servin' narcotics since he was 12
Came out the coach with cookies like the Keebler elves
Environments that we live in the type you see in HellI might have to reconsider my stance on this dude. I’m gonna keep trying with his music and hopefully I’ll enjoy it more because I think this verse gave me a new appreciation for him. This song is absolute fire to me, and one of my favorites of the year.
Track 4 is called Elevated, and it features Tony Tone & twohorizonra. The instrumental on this track is a lot more melodic than that of the preceding song. I slightly prefer that track, but both of the instrumentals are awesome, and the features on this song went crazy. The opening verse from Tony Tone is excellent. I really love the way his voice sounds over this instrumental.
I'm Dallas, Texas, born & raised
Eyes red, I'm torched & blazed
Lookin' at the devil, pray away all the scorn & haze
You know me, I'm tryna find a way to pass the day
Cash inflation on a Saturday, I found my way up out the matrix
Try and get out the maze, try and find a path, and take itThe second verse from twohorizonra is also pretty nice. His flow sounds really fantastic, especially right at the beginning of his performance. I have to admit that I kinda find my patience running thin by the time this song is ending. It maybe didn’t need to be four and a half minutes. I mean, all of the verses are very great, but sonically there isn’t much variation, so unless you’re a lyrics-based listener like me you may find it tedious. With that said, I personally think it’s a really dope song. I love the production, and the rapping is great. Maybe a really good hook could’ve elevated things a bit, but it’s really dope as it is.
https://youtu.be/fibzZJGem2M?si=m6LvS6mE79qfvHi2
WardWar3 was my favorite track on the album the first time I listened to it. I really love this beat. The way the percussion builds up as the song progresses is really cool. The first verse is performed by Døøf, who is another artist I’ve had mixed feelings on in the past. With that said, I’ve only heard features from him, so it’s possible that I’d enjoy his solo material. I just haven’t tapped in yet. I did enjoy the performance on this particular song though. I definitely preferred Zay’s verse, but they both did a really nice job here.
Ed, Edd n' Eddy, chase the cheddar
Which falls faster, you or the feather?
Malt liquor stains on the leather
Can't blame you for not seein' the vision
This pen a missile, broke glass in the kitchen
Runnin' laps bristol, pain—I'ma get through
'Caine get the rent due
Marble in the mansion what we tryna get toI don’t love it quite as much as I did the first time I heard it, but it’s still really great. Honestly my favorite aspect of it is Sadhugold’s production. The instrumental here sounds like something I’d hear in a black & white crime film. It’s really dope.
The following song is called Make It, and this one honestly grew on me a lot. I thought it was good the first time I heard it, but it was definitely my least favorite track. That’s not even the case anymore though. I really like this one. I think the beat here is even better than that of the preceding track. I love how much energy is here. It’s hard for me to listen to this one without getting the coveted involuntary head nod. This is the kinda stuff Busta Rhymes should be rhyming over. He should get the Leaders of the New School back together and make stuff like this. That’d be fire. Anyway, this track is just over two minutes in length, so there’s only time for one verse. It’s great.
My tongue a sword, I sharpen my weapon
Leather pedals on the Lexus, feel good when I press it
Patience a virtue, couldn't hurt us when I'm steppin'
I buried the most, need the house with the toast close
Need the private land with the big ass boat
Seen 'em choke like the Falcons, climb mountains
They try to sustain fame with a lame ass outfitI really like the way he ends the verse in particular.
They tell you don't change 'cause they want you complacent
It's free range, you want what's out there? Go take it
Hope you tough, if not, out here you not gon' make itAgain, this one really grew on me. I think it’s super dope.
The next song is called Many Flavors, and it features Okir. The beat here is interesting. The bass sounds really blown out to me. It sounds good though. I like it. The rapping itself is what makes this song stand out to me though. I love Pro Zay’s performance here.
Many flavors, stole paper from the neighbors
Pay us, I'm the late night fiend savior
Late bloomer, but I was early for the paper
Step up on toes, I don't care, they some hoes
Eat your food and turn you to my waiter
Here's a kick, piff blowin' take away my anger
Change the whip quite often
Shoe make the soft harden, feel like I found my callingThe second verse from Okir is great too.
Raise the Fahrenheit, motherfuck a parasite
Homie doin' five'll take your life over a pair of dice
My auntie rob banks, she was dressin' like an Arab, right
Me, I drop fire, probably burnin' through your terabyteI think as far as the lyrical content goes, Pro Zay’s verse was better. However, in terms of their cadences, Okir stood out a bit more. They both did a really nice job here though. It’s another dope track.
Track 8 is called Homemade, and it features Obijuan. This song definitely has one of my favorite beats on the project. I also love the way Pro Zay starts his performance.
Ever want something so bad pussy and bread couldn't distract you?
No handout, had my hand down push and seal vacuum
You washed up in the fed now, wouldn't put it past you
Set my man up and he ran off, couldn't let that pass do
Cookin' glass up with the fan off
Hey, crack the back door, they cookin' packs with the fentanyl
Had the fiends lined up at the mall
We still up, they passed outHe actually went crazy on this track. That’s definitely one of my favorite verses on the project. Obijuan is someone I’ve only heard on features because, to be honest, his music isn’t really affordable for me. I was planning on checking out one project of his at one point, but it was maybe 18 minutes of music and he was trying to charge people like 40 bucks for it. I just can’t be spending that kinda money, especially for a digital version of a project. He’s not a bad rapper though. I’ve seen people accuse him of biting Mach-Hommy in the past, but I’m not familiar enough with either of those artists to say whether I agree or not. Their voices are similar, but I haven’t heard Mach-Hommy use this flow before. I’m not really crazy about it personally.
Remain more than thankful, but fuck humble
Critics wrong ’cause they ain’t give felatio
Let’s go band for band, take this ratioIt’s a fine verse. I don’t mind it. I mean, I probably would’ve preferred this as a solo track, but he doesn’t ruin the song or anything. I still love the song. I think it’s excellent.
The penultimate track is a solo cut called Mandela Effect. This is another highlight for me. The production here is excellent. I feel like Iceberg Theory would destroy this instrumental. I love the way Pro Zay starts rapping before the beat drops. The way the drums fade in sounds so cool. It’s awesome.
What you need, I can find; I been solid, I been working
Sold every drug, everything at your service
I get the bag, stretch it out, then serve it
Bird the worst hit from them curses, had to hide this in her cervix
Hearses stay in business, they give they two cents at the churches
Handle chicken like it's Church's, my first lick had us livin' well
Not so worthless, but the bread addiction finger lickin'The lyrical content is pretty grizzly, as you can see. Zay paints some dark pictures here, which I personally really enjoy. This is another one of the shorter songs on the project, but it doesn’t feel too scant or anything. It’s honestly another one of my favorites on the project. I love it.
The closing track is one last highlight called Fork, and it features the legendary Boldy James. Is it too soon to call Boldy James a legend? I’d say he’s one of the best rappers of the past 5 years. I mean, he hasn’t really ended up on my year end lists that often, but he’s just super consistent. That Indiana Jones project was dope. I haven’t even heard everything he’s dropped in the past year because he’s so prolific. I think he’s a brilliant rapper, but unfortunately his production choices some times leave much to be desired. That isn’t an issue here at all though thankfully. Sadhugold’s beat here is stellar. This is definitely one of my favorite instrumentals on the project. It might be number one honestly. The opening verse from Zay is superb as well. This might actually be his best verse on the project.
I know I'll lose a piece of me, but I'll still weather the storm
Feel my legs givin' out, I still carry it onThat couplet alone makes this one of my favorite verses Pro Zay has ever released. He just keeps going too. That’s not even the hardest line.
I won't even act surprised, could care less to get back
Needle in my unc' vein, his eyes rollin' back
If I had it my way he'd be alive kickin' back
Too late for that, they pressin' fam, switch to attack
I don't dap, I hug my brothers 'cause I lost too many of 'em
On the soul or in the cell, snatched behind the coversI love how his lyricism matches the tone of the production. The storytelling from Boldy James on the second verse is phenomenal as well. Yeah. This song is amazing. I’m really glad they closed this album on such a high note. This track really wrapped things up nicely.
This album is exceptional. Pro Zay’s rapping is the best it has ever been, and he sounds excellent over these really cool instrumentals from Sadhugold. I love a lot of the dark, gritty subject matter explored by Zay and the features, who were dope as well. The title of this project definitely gives you an idea of what to expect lyrically. It’s about perseverance and overcoming hardships. Pro Zay has gotta be one of the most consistent artists on my radar right now. Every single project I’ve covered from this dude has been super dope. His signature raspy vocal delivery may be an acquired taste for some, but I think he’s dynamic enough with it for it to be pretty accessible to a lot of listeners. I really enjoyed this project, and it’s definitely one of the better albums I’ve heard in 2024. Check it out, and let me know what you think in the comments below. Peace.
Favorite Song: Fork
Least Favorite Song: WardWar386
Grade: A-Rate this:
https://focushiphop.com/2024/10/06/pro-zay-sadhugold-pulled-gold-out-tha-mud-album-review/
#BoldyJames #DøøFus #EsteeNack #Obijuan #Okir #ProZay #Sadhugold #TonyTone
-
Fight to allow #ICE detainees: Federal government joins #PrivatePrison , #CoreCivic, against City of #LeavenworthKS
By Gabe Swartz
Published: Sep. 23, 2025LEAVENWORTH, Kan. (KCTV) - "In a Topeka courtroom Wednesday, September 24, CoreCivic, with the support of Washington D.C.’s Department of Justice went before a judge along with attorneys representing the City of Leavenworth.
"There, a judge scheduled a date for the two sides to meet again on #November25. In that hearing, CoreCivic will be allowed to present arguement that a Kansas court’s decision barring CoreCivic from housing #ICEDetainees should be overturned.
"The United States Department of Justice [#DOJ] filed a statement of interest on September 22 to address what it called 'an aggressive and unlawful effort' by the City of Leavenworth to interfere with federal immigration enforcement.
"The U.S. District Court was filed against the City of Leavenworth, Mayor #HollyPittman, Mayor Pro Tem #NancyBauder, and city commissioners Griff Martin, Jermaine Wilson, and Edd Hingula.
" 'The United States has a strong interest in countering state and local efforts to harass federal contractors, in the proper application of the Constitution and its Supremacy clause,' the DOJ said in its statement of interest, 'and in the foundational principles that protect the Federal Government from unconstitutional state and local interference.' [Back at ya, FEDS!]
"In March, the City of Leavenworth adopted a resolution preventing CoreCivic from using the former federal prison as an immigration detention center. It then filed a lawsuit asking a judge to block the private prison operator’s attempt to open the facility without its approval.
"The City opened its complaint with a testimonial describing the detention center as an 'absolute hell hole.' It stated that during CoreCivic’s 30 years of operation, there were 'multiple widely publicized scandals resulting from its gross mismanagement of the Facility,' which burdened the City in 'countless ways.' "
Read more:
https://www.kctv5.com/2025/09/24/department-justice-joins-corecivic-fight-against-city-leavenworth/#USPol #TrumpSucks #PrisonState
#SilencingDissent #IndefiniteDetention #ICE #protesters #ICESucks -
Fight to allow #ICE detainees: Federal government joins #PrivatePrison , #CoreCivic, against City of #LeavenworthKS
By Gabe Swartz
Published: Sep. 23, 2025LEAVENWORTH, Kan. (KCTV) - "In a Topeka courtroom Wednesday, September 24, CoreCivic, with the support of Washington D.C.’s Department of Justice went before a judge along with attorneys representing the City of Leavenworth.
"There, a judge scheduled a date for the two sides to meet again on #November25. In that hearing, CoreCivic will be allowed to present arguement that a Kansas court’s decision barring CoreCivic from housing #ICEDetainees should be overturned.
"The United States Department of Justice [#DOJ] filed a statement of interest on September 22 to address what it called 'an aggressive and unlawful effort' by the City of Leavenworth to interfere with federal immigration enforcement.
"The U.S. District Court was filed against the City of Leavenworth, Mayor #HollyPittman, Mayor Pro Tem #NancyBauder, and city commissioners Griff Martin, Jermaine Wilson, and Edd Hingula.
" 'The United States has a strong interest in countering state and local efforts to harass federal contractors, in the proper application of the Constitution and its Supremacy clause,' the DOJ said in its statement of interest, 'and in the foundational principles that protect the Federal Government from unconstitutional state and local interference.' [Back at ya, FEDS!]
"In March, the City of Leavenworth adopted a resolution preventing CoreCivic from using the former federal prison as an immigration detention center. It then filed a lawsuit asking a judge to block the private prison operator’s attempt to open the facility without its approval.
"The City opened its complaint with a testimonial describing the detention center as an 'absolute hell hole.' It stated that during CoreCivic’s 30 years of operation, there were 'multiple widely publicized scandals resulting from its gross mismanagement of the Facility,' which burdened the City in 'countless ways.' "
Read more:
https://www.kctv5.com/2025/09/24/department-justice-joins-corecivic-fight-against-city-leavenworth/#USPol #TrumpSucks #PrisonState
#SilencingDissent #IndefiniteDetention #ICE #protesters #ICESucks -
Fight to allow #ICE detainees: Federal government joins #PrivatePrison , #CoreCivic, against City of #LeavenworthKS
By Gabe Swartz
Published: Sep. 23, 2025LEAVENWORTH, Kan. (KCTV) - "In a Topeka courtroom Wednesday, September 24, CoreCivic, with the support of Washington D.C.’s Department of Justice went before a judge along with attorneys representing the City of Leavenworth.
"There, a judge scheduled a date for the two sides to meet again on #November25. In that hearing, CoreCivic will be allowed to present arguement that a Kansas court’s decision barring CoreCivic from housing #ICEDetainees should be overturned.
"The United States Department of Justice [#DOJ] filed a statement of interest on September 22 to address what it called 'an aggressive and unlawful effort' by the City of Leavenworth to interfere with federal immigration enforcement.
"The U.S. District Court was filed against the City of Leavenworth, Mayor #HollyPittman, Mayor Pro Tem #NancyBauder, and city commissioners Griff Martin, Jermaine Wilson, and Edd Hingula.
" 'The United States has a strong interest in countering state and local efforts to harass federal contractors, in the proper application of the Constitution and its Supremacy clause,' the DOJ said in its statement of interest, 'and in the foundational principles that protect the Federal Government from unconstitutional state and local interference.' [Back at ya, FEDS!]
"In March, the City of Leavenworth adopted a resolution preventing CoreCivic from using the former federal prison as an immigration detention center. It then filed a lawsuit asking a judge to block the private prison operator’s attempt to open the facility without its approval.
"The City opened its complaint with a testimonial describing the detention center as an 'absolute hell hole.' It stated that during CoreCivic’s 30 years of operation, there were 'multiple widely publicized scandals resulting from its gross mismanagement of the Facility,' which burdened the City in 'countless ways.' "
Read more:
https://www.kctv5.com/2025/09/24/department-justice-joins-corecivic-fight-against-city-leavenworth/#USPol #TrumpSucks #PrisonState
#SilencingDissent #IndefiniteDetention #ICE #protesters #ICESucks -
Fight to allow #ICE detainees: Federal government joins #PrivatePrison , #CoreCivic, against City of #LeavenworthKS
By Gabe Swartz
Published: Sep. 23, 2025LEAVENWORTH, Kan. (KCTV) - "In a Topeka courtroom Wednesday, September 24, CoreCivic, with the support of Washington D.C.’s Department of Justice went before a judge along with attorneys representing the City of Leavenworth.
"There, a judge scheduled a date for the two sides to meet again on #November25. In that hearing, CoreCivic will be allowed to present arguement that a Kansas court’s decision barring CoreCivic from housing #ICEDetainees should be overturned.
"The United States Department of Justice [#DOJ] filed a statement of interest on September 22 to address what it called 'an aggressive and unlawful effort' by the City of Leavenworth to interfere with federal immigration enforcement.
"The U.S. District Court was filed against the City of Leavenworth, Mayor #HollyPittman, Mayor Pro Tem #NancyBauder, and city commissioners Griff Martin, Jermaine Wilson, and Edd Hingula.
" 'The United States has a strong interest in countering state and local efforts to harass federal contractors, in the proper application of the Constitution and its Supremacy clause,' the DOJ said in its statement of interest, 'and in the foundational principles that protect the Federal Government from unconstitutional state and local interference.' [Back at ya, FEDS!]
"In March, the City of Leavenworth adopted a resolution preventing CoreCivic from using the former federal prison as an immigration detention center. It then filed a lawsuit asking a judge to block the private prison operator’s attempt to open the facility without its approval.
"The City opened its complaint with a testimonial describing the detention center as an 'absolute hell hole.' It stated that during CoreCivic’s 30 years of operation, there were 'multiple widely publicized scandals resulting from its gross mismanagement of the Facility,' which burdened the City in 'countless ways.' "
Read more:
https://www.kctv5.com/2025/09/24/department-justice-joins-corecivic-fight-against-city-leavenworth/#USPol #TrumpSucks #PrisonState
#SilencingDissent #IndefiniteDetention #ICE #protesters #ICESucks -
Fight to allow #ICE detainees: Federal government joins #PrivatePrison , #CoreCivic, against City of #LeavenworthKS
By Gabe Swartz
Published: Sep. 23, 2025LEAVENWORTH, Kan. (KCTV) - "In a Topeka courtroom Wednesday, September 24, CoreCivic, with the support of Washington D.C.’s Department of Justice went before a judge along with attorneys representing the City of Leavenworth.
"There, a judge scheduled a date for the two sides to meet again on #November25. In that hearing, CoreCivic will be allowed to present arguement that a Kansas court’s decision barring CoreCivic from housing #ICEDetainees should be overturned.
"The United States Department of Justice [#DOJ] filed a statement of interest on September 22 to address what it called 'an aggressive and unlawful effort' by the City of Leavenworth to interfere with federal immigration enforcement.
"The U.S. District Court was filed against the City of Leavenworth, Mayor #HollyPittman, Mayor Pro Tem #NancyBauder, and city commissioners Griff Martin, Jermaine Wilson, and Edd Hingula.
" 'The United States has a strong interest in countering state and local efforts to harass federal contractors, in the proper application of the Constitution and its Supremacy clause,' the DOJ said in its statement of interest, 'and in the foundational principles that protect the Federal Government from unconstitutional state and local interference.' [Back at ya, FEDS!]
"In March, the City of Leavenworth adopted a resolution preventing CoreCivic from using the former federal prison as an immigration detention center. It then filed a lawsuit asking a judge to block the private prison operator’s attempt to open the facility without its approval.
"The City opened its complaint with a testimonial describing the detention center as an 'absolute hell hole.' It stated that during CoreCivic’s 30 years of operation, there were 'multiple widely publicized scandals resulting from its gross mismanagement of the Facility,' which burdened the City in 'countless ways.' "
Read more:
https://www.kctv5.com/2025/09/24/department-justice-joins-corecivic-fight-against-city-leavenworth/#USPol #TrumpSucks #PrisonState
#SilencingDissent #IndefiniteDetention #ICE #protesters #ICESucks -
I was a Democrat voter, working for the US government until 2023 and have a Federal clearance.
I turned whistle-blower on my employer, Gray Digital, the Veteran's Administration, and the US government ( then, the Democrats ).
In short order, I was physically thrown out of my home, arrested multiple times, brutalized, hacked, computers smashed.
I have been homeless since 2023, and have slept on hard concrete, in mud,
in freezing temperatures, in sweltering heat.Eaten out of garbage cans, the sidewalk, and soup kitchens.
Physically assaulted multiple times. Stolen from.
Had hate crimes committed against me, and Biden's government turned a blind eye ( they are VERY complicit ).I have gone from being a very legit veteran programmer ( passed intense background check on the past 30 years of my life ) to being penniless.
On July 4, 2024, I walked into the Democrat convention in Kona,
wearing a pretty black dress that I got off a charity bin, with a rumbly tummy,
having not eaten much for 3 days. They had a sumptuous buffet, and I pigged out.Listened to the Democrat candidates speak.
They were all bourgeois business people.
Not ONCE did anyone mention: homelessness, poverty, hunger,
crime, drugs, violence against vulnerable people.They don't know about the homeless people.
Even worse, they know, but don't care.They raffled off prizes to win voters: Kona Coffee, Macadamia Nuts, and a $25 gift certificate.
Q: Why do the representatives of the people try to win voters with money prizes?
A: They didn't have any real ideas! They are part of the corrupt system.Yes, Biden made me homeless for questioning government waste.
Anyway, here's what I say: JAIL FOR BIDEN!
FUCK politicians and the theater of democracy.
My account to EDD, California:
https://drive.proton.me/urls/57KG4N0MPG#QJ0hpGhsxKuHCalifornia Judge rules in my favor:
https://drive.proton.me/urls/FNJFRJNXF4#XPJjXTbgRAUeBiden is corrupt!
#JailForBiden #JusticeForAll #Justice
#whistleblower #AFS #Accenture
#VA #veteran #usveteran -
I was a Democrat voter, working for the US government until 2023 and have a Federal clearance.
I turned whistle-blower on my employer, Gray Digital, the Veteran's Administration, and the US government ( then, the Democrats ).
In short order, I was physically thrown out of my home, arrested multiple times, brutalized, hacked, computers smashed.
I have been homeless since 2023, and have slept on hard concrete, in mud,
in freezing temperatures, in sweltering heat.Eaten out of garbage cans, the sidewalk, and soup kitchens.
Physically assaulted multiple times. Stolen from.
Had hate crimes committed against me, and Biden's government turned a blind eye ( they are VERY complicit ).I have gone from being a very legit veteran programmer ( passed intense background check on the past 30 years of my life ) to being penniless.
On July 4, 2024, I walked into the Democrat convention in Kona,
wearing a pretty black dress that I got off a charity bin, with a rumbly tummy,
having not eaten much for 3 days. They had a sumptuous buffet, and I pigged out.Listened to the Democrat candidates speak.
They were all bourgeois business people.
Not ONCE did anyone mention: homelessness, poverty, hunger,
crime, drugs, violence against vulnerable people.They don't know about the homeless people.
Even worse, they know, but don't care.They raffled off prizes to win voters: Kona Coffee, Macadamia Nuts, and a $25 gift certificate.
Q: Why do the representatives of the people try to win voters with money prizes?
A: They didn't have any real ideas! They are part of the corrupt system.Yes, Biden made me homeless for questioning government waste.
Anyway, here's what I say: JAIL FOR BIDEN!
FUCK politicians and the theater of democracy.
My account to EDD, California:
https://drive.proton.me/urls/57KG4N0MPG#QJ0hpGhsxKuHCalifornia Judge rules in my favor:
https://drive.proton.me/urls/FNJFRJNXF4#XPJjXTbgRAUeBiden is corrupt!
#JailForBiden #JusticeForAll #Justice
#whistleblower #AFS #Accenture
#VA #veteran #usveteran