#agonia-records — Public Fediverse posts

Hanging Garden – Isle of Bliss Review https://www.allforgardening.com/1664332/hanging-garden-isle-of-bliss-review/ #2026 #4.0 #AgoniaRecords #DoomMetal #FinnishMetal #garden #GothicMetal #HangingGarden #Insomnium #IsleOfBliss #Katatonia #Mar26 #MelodicDeathMetal #Review #reviews #SwallowTheSun #Vesseles

For nearly twenty years, Hanging Garden have quietly dabbled in the same sort of melodic melancholy as their more well-known counterparts, Katatonia, Insomnium, and Swallow the Sun. I first wandered into their brand of gothic sadboi melodoom with 2021’s Skeleton Lake, thanks to Steel’s glowing writeup. While I’ve enjoyed what I’ve heard from them since, what really hooked me was their 2025 EP, The Unending. They really honed their melodic game, particularly with an incredible hook on “Morgan’s Trail,” and I was hopeful this EP was a sign of a new direction for the band. Well, they do take a new direction, but not quite the one I expected. Despite its cheerful name, Isle of Bliss proves to be a much darker work than you may be accustomed to from this septet. Their newfound darkness opens up layers of depth, proving the band capable of bringing out beauty from even the darkest depths.

Despite the darker direction, Hanging Garden still dabble in a wide range of moods. On Isle of Bliss, they skillfully blend crushing riffs and Toni Hatakka’s deathly, muscular growls with gentle arpeggios and soft croons from Riikka Hatakka. Opener “To Outlive the Nine Ravens” illustrates this perfectly, as it blends dark growls with lovely trem melodies and a gentle duet with some more feel-good trems in an energetic tune that starts the record off right. Isle of Bliss then takes an unsettling turn on “Eternal Trees of Turquoise,” which features a duet of a different nature, where Toni’s menacing growls mix with Riikka’s sinister blackened rasps. Her performance reminded me a lot of the demon vocalist from Vesseles earlier this year, and it is a chilling turn away from the usual foil to Toni’s harsh growls. Things take yet another turn on the appropriately named “Isle of Bliss” and deceptively named “To the Gates of Hel.” These cheerful tunes feature uplifting guitar tones and some wonderfully catchy choruses sure to put your fearful heart at ease. In sum, Isle of Bliss is a moody beast that will hit you in all the feels.

Isle of Bliss by Hanging Garden

Isle of Bliss contains lush beauty thanks to its patient and melodic songwriting. At times, Hanging Garden shines a light through the darkness with soaring choruses and powerful melodic guitar leads that turn gloom into cheer. On “The Blights Nine,” a trem lead dispels the terrifying horror of Riikka’s rasps, while on “Arise, Black Sun,” the guitar melody transforms a growling duet into a piece of blackened beauty. The tremolos and the tour-de-force vocal performances from the Hatakka pair are not the only aspects that elevate the music. Hanging Garden use chugging, thick riffs to cast a doomy pall, whispery synths to invoke dreamy atmospherics, and piano segments to produce feelings of tranquility. All of these elements coalesce on the atmospheric climax, “Her Wailing Light,” whose beautiful chorus is a wonder in a sea of some great moments throughout Isle of Bliss.

As much as I didn’t want this record to end, there are a few areas where Hanging Garden could have done some trimming. “To Outlive the Nine Ravens” and “To the Gates of Hel” creep nearly into the seven-minute range, where their repetitive, formulaic nature begins to grow thin. Yet they are such terrific songs that the desire to stretch them out is forgivable. Perhaps the biggest letdown is the finale, “Beneath the Fallen Sky,” an atmospheric piece that lacks the punch of preceding tracks. “Her Waning Light” feels like a much more appropriate closer, with its emotional trem lead followed by such a tranquil conclusion. “Beneath the Fallen Sky” may fit a narrative arc as a resolution, and it’s really not a bad song, yet I think it’s just in the nature of resolutions to sometimes feel unsatisfying in the wake of highly emotional moments that precede them.

While I am a relative newbie to Hanging Garden, as far as I can tell, Isle of Bliss is their finest achievement to date. The addition of darker aspects to their sound, while remaining true to their roots, brings depth to their songwriting. Almost every song packs a wallop thanks to powerful singing and incredibly catchy and evocative guitar leads. This band poured their heart and soul into this one. It is a stunning record that will leave you in a state of bliss from start to finish.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Agonia Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

ALBUM REVIEW: Isle Of Bliss – Hanging Garden https://www.allforgardening.com/1662983/album-review-isle-of-bliss-hanging-garden/ #AgoniaRecords #garden #HangingGarden #IsleOfBliss

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Abigail Williams – A Void Within Existence Review

By Dr. A.N. Grier

After dropping a new album last year under his Nachtmystium moniker, I had a sneaky suspicion Ken Sorceron would bless us with a new Abigail Williams record this year. And, sure as shit, A Void Within Existence is here. I’ve been covering this outfit for some time now, thankfully, after their spell in the metalcore realm. And each new album continues to push new boundaries, inching closer to grabbing the counter by the balls and dragging it through blackened muck. While some would disagree, 2019’s Walk Beyond the Dark was a brilliant record that might arguably be the band’s best work. That sets a new bar for this ever-evolving group that, I can only assume, becomes more difficult to overtake with each new album and the swinging door of lineup changes and guest appearances. At least for now, the arsenal Sorceron surrounds himself with on A Void Within Existence is a tight group that meshes nicely together. But will this new record deliver the goods and bitch-slap the counter?

One of the best guests on this year’s release is Mike Heller (Changeling, Malignancy, Raven, and a thousand other fucking bands) on drums. Heller brings the intensity that adds layers of depth to A Void Within Existence, which are rarely found on the band’s previous albums. John Porada’s1 prowess also does wonders to the bass-heavy songwriting of Abigail Williams. Complete it with Vale of Pnath’s Vance Valenzuela on guitar, and we have one of the best Abigail Williams lineups. A Void Within Existence sets this foursome down a road of wreckage that can either end in annihilation or perfection. And it all weighs on the songwriting, performances, production, and, well… everything involved in crafting a release, especially with the depth involved in the lyrics and musical direction. Let’s see if I start crying.

A Void Within Existence wastes no time getting off the ground as it explodes with a heavy-bass assault and a murky, dissonant riff. It eventually settles into a groove as the spitting, slathering vocals arrive, supported powerfully by thundering backing vocals. Oddly enough, the pace and vocal arrangements evoke Hypocrisy. But things really get moving with the follow-up track, “Void Within.” Heller’s drum work, in particular, is the perfect teaser of what’s to come on later tracks. After opening with a meloblack passage, the razor-sharp riffs intensify around Sorceron’s vicious rasps. For nearly six minutes, this conglomeration of crushing black riffs, touches of orchestration, and absolute sinisterness paints a picture of sheer darkness. With wild guitar leads, impressive drum work, and a climax to make it worth the journey, “Void Within” is one of the most rounded ditties on the record.

But the best tracks on the album are “Talk to Your Sleep” and the closing number, “No Less than Death.” Seven months into the year, “Talk to Your Sleep” threatens to be my song o’ the year for 2025. This thing is nothing like anything I’ve ever heard from the band. Bass and drum-led, the crushing riff that springs up throughout is arguably the most memorable and headbangable thing ever to come from Abigail Williams. After cracking pavement with its mid-paced approach, it swings back around to begin again, this time with some punching vocals that are further emphasized by the guitars and drums. Then, Porada’s disgusting bass wakes the beast once more as we headbang to the end. Like Walk Beyond the Dark’s “The Final Failure,” “No Less than Death” is a surprising piece that shows Sorceron continuing to push his limits as a vocalist. While “The Final Failure” teased at some clean vocals, while retaining the rasp as the lead, “No Less than Death” goes all out with soaring, soothing cleans and rasping support. This atmospheric beauty takes us along valleys and hills that never end, and, when you thought you’d heard everything this song could offer, it concludes with beautiful, old-school solo work that, depending on your mood, leaves you hopelessly depressed or naively optimistic

After a dozen listens, I can’t find much on A Void Within Existence that makes me unhappy. While it’s compressed, the production still allows all the instruments to lend their weight to the end product. There could be a bit more bass in places, but it’s made up for by the slick drum mix. And, surprisingly enough, the clean vocals are far more forward in the mix than the previous album, which is pleasant to hear. The most predictable track on the album is “Nonexistence,” but it’s a solid, slower piece that draws you into the album’s sad theme. Letting the songwriting brew for the last six years has done A Void Within Existence well. It’s a repeatable record that requires multiple listens to explore every nook and cranny. Knowing the history of the band and its lineup changes, I hope Sorceron can bring these gents back in the future, because this might be the best they’ve ever been.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Agonia Records
Websites: facebook.com/abigailwilliamsband
Releases Worldwide: July 18th, 2025

#2025 #40 #AbigailWilliams #AgoniaRecords #AmericanMetal #AtmosphericBlackMetal #BearMace #BlackMetal #Changeling #Hypocrisy #Jul25 #Malignancy #Nachtmystium #Raven #Review #Reviews #ValeOfPnath

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

Show 3 footnotes

1. Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
2. DiGiorgio has been known to rock a 3-string bass too! ↩
3. Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

ENTROPIA - Final (Official Track Stream)

https://youtu.be/STecIilXQRY

#music #metal #postmetal #entropia #agoniarecords

SADIST - Breathin' Cancer (30th Anniversary Edition)

https://youtu.be/T5g1x8o2LsY

#music #deathmetal #metal #sadist #agoniarecords