#altmetal — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #altmetal, aggregated by home.social.
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we fight for the crumbs like roaches 🪳
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky -
we fight for the crumbs like roaches 🪳
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky -
we fight for the crumbs like roaches 🪳
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky -
we fight for the crumbs like roaches 🪳
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky -
we fight for the crumbs like roaches 🪳
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky -
Enter and Bury is our new vulgar and ironic nu-metal track about the refusal to go down quietly when everyone is waiting for you to fall!
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky
Enter And Bury - Listen Now — ... -
Enter and Bury is our new vulgar and ironic nu-metal track about the refusal to go down quietly when everyone is waiting for you to fall!
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky
Enter And Bury - Listen Now — ... -
Enter and Bury is our new vulgar and ironic nu-metal track about the refusal to go down quietly when everyone is waiting for you to fall!
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky
Enter And Bury - Listen Now — ... -
Enter and Bury is our new vulgar and ironic nu-metal track about the refusal to go down quietly when everyone is waiting for you to fall!
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky
Enter And Bury - Listen Now — ... -
Enter and Bury is our new vulgar and ironic nu-metal track about the refusal to go down quietly when everyone is waiting for you to fall!
Listen to Enter and Bury at pinkparadox.band/promo/enter-and-bury
#metalsky #metal #metalcore #numetal #rapmetal #alt #altmetal #music #musicsky
Enter And Bury - Listen Now — ... -
Mallavora – What If Better Never Comes? Review By Lavender LarcenistAccessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music?
The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album.
What If Better Never Comes? by Mallavora
Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut.
What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum.
Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it.
Rating: Very Good
#2026 #35 #AltMetal #BritishMetal #ChurchRoadRecords #GrooveMetal #HardRock #Mallavora #Mar26 #Metalcore #OrbitCulture #Review #Reviews #WhatIfBetterNeverComes
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Church Road Records
Websites: mallavora.co.uk | Bandcamp
Releases Worldwide: March 27th, 2026 -
Mallavora – What If Better Never Comes? Review By Lavender LarcenistAccessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music?
The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album.
What If Better Never Comes? by Mallavora
Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut.
What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum.
Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it.
Rating: Very Good
#2026 #35 #AltMetal #BritishMetal #ChurchRoadRecords #GrooveMetal #HardRock #Mallavora #Mar26 #Metalcore #OrbitCulture #Review #Reviews #WhatIfBetterNeverComes
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Church Road Records
Websites: mallavora.co.uk | Bandcamp
Releases Worldwide: March 27th, 2026 -
Mallavora – What If Better Never Comes? Review By Lavender LarcenistAccessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music?
The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album.
What If Better Never Comes? by Mallavora
Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut.
What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum.
Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it.
Rating: Very Good
#2026 #35 #AltMetal #BritishMetal #ChurchRoadRecords #GrooveMetal #HardRock #Mallavora #Mar26 #Metalcore #OrbitCulture #Review #Reviews #WhatIfBetterNeverComes
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Church Road Records
Websites: mallavora.co.uk | Bandcamp
Releases Worldwide: March 27th, 2026 -
Mallavora – What If Better Never Comes? Review By Lavender LarcenistAccessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music?
The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album.
What If Better Never Comes? by Mallavora
Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut.
What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum.
Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it.
Rating: Very Good
#2026 #35 #AltMetal #BritishMetal #ChurchRoadRecords #GrooveMetal #HardRock #Mallavora #Mar26 #Metalcore #OrbitCulture #Review #Reviews #WhatIfBetterNeverComes
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Church Road Records
Websites: mallavora.co.uk | Bandcamp
Releases Worldwide: March 27th, 2026 -
Mallavora – What If Better Never Comes? Review By Lavender LarcenistAccessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music?
The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album.
What If Better Never Comes? by Mallavora
Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut.
What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum.
Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it.
Rating: Very Good
#2026 #35 #AltMetal #BritishMetal #ChurchRoadRecords #GrooveMetal #HardRock #Mallavora #Mar26 #Metalcore #OrbitCulture #Review #Reviews #WhatIfBetterNeverComes
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Church Road Records
Websites: mallavora.co.uk | Bandcamp
Releases Worldwide: March 27th, 2026 -
By ClarkKent
At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.
One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.
A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.
While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.
With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1
Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: September 12th, 2025#2025 #30 #AltMetal #Grunge #GwenStefani #HighOnFire #LiminalSpace #Nirvana #NoDoubt #PsychedelicRock #Regina #Review #Reviews #SelfReleased #Sep25 #SergeantThunderhoof #StonerRock #UruguayanMetal
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By ClarkKent
At the end of each year, Angry Metal Guy likes to boast of the diverse coalition of readers who flock to these halls from all over the world, including the lone visitor from Vatican City. Just as important as the diverse readership is the diversity in the bands we review. So when Dolphin Whisperer excitedly brought to our attention a promo that would, if reviewed, be our first Uruguayan metal tag, I decided to take up the mantle as explorer to this uncharted frontier. Liminal Space is the debut album from Uruguayan alt-metal act Regina. The quartet first released an EP, Apology, back in 2019, but COVID paused work on any further material until 2024, when they started recording Liminal Space. Of course, music often transcends national boundaries. For one, musical influences are global in reach. For another, as in this case, the making of an album itself can escape borders. While Regina did their recording in Uruguay, the mixing and mastering followed drummer Nicolás Martín as he moved to Canada. That said, let’s see what Uruguay has to bring to the table.
One look at their Bandcamp page reveals that Regina dabbles in a variety of styles, but the nu-metal tag might stick out as a turnoff for many readers. While there are a few brief spoken/rapped sections, concerned readers can rest assured that Liminal Space leans stoner and grunge above anything else. They don’t play the blasting, riff-tastic stoner of High on Fire or Sergeant Thunderhoof, but a hazy, atmospheric version that relies on reverb and ample bass grooves. It’s almost a tale of two halves, with the front half leaning stoner and the back half grunge. Early on the songs have a much more freestyle form to them, such as the dreamy, sometimes psychedelic “S.M.E.G.M.A..” It’s not until “Age of Aquarius” that they really attempt any sort of riffs. The later grunge-y stuff like “Would You Like Some Fries With That?” and “Rot” have a more punky vibe with clearer traditional song structure. Closer “Rot” is a particular standout, sounding like a crossover between Nirvana and Tragic Kingdom-era No Doubt.
A charismatic lead is a must when going the alt route, and Regina has one in Sofia May. She fluctuates her voice seamlessly from chill to punk, bringing a poetic, stylistic interpretation of the lyrics. When she reaches higher notes she sounds an awful lot like Gwen Stefani and might have you on the lookout for spiderwebs (“Of Dicks and Whores,” “Dethroned,” “Whiteout”). On closer “Rot,” she channels not only the Hollaback Girl but also a mumbling Kurt Cobain—and I don’t mean that in a negative way. While her voice tends towards the gritty, she also softly chants and croons in a dreamy manner that reminded me of another band I reviewed earlier this year, the psychedelic doom outfit When the Deadbolt Breaks (“Hollow Crown,” “Sweet Embrace”). The diversity of May’s vocal delivery is a major asset on Liminal Space.
While Liminal Space is a very pleasant listen in the moment, the lack of hooky or melodic guitar riffs means that many of the tracks don’t quite stick. Regina relies almost too heavily on reverb, to the point that songs can be difficult to grasp, even as you might enjoy the detours the musicians take. The bassist does make up for this to an extent, often serving as the lead with a deft groove attack. Bassist Agustín Sogliano makes a particularly strong impression in the final minutes of “Rot” with some gnarly riffs. Fortunately, Liminal Shroud boasts clear production values that ensure no one instrument drowns out another. While the middle portion of the 48 minute album sags a bit, the surrounding music is enjoyable enough to recommend at least a few listens.
With the spunky Regina as its AMG representative, Uruguay is off to a good start. True, it might be a little uneven, but I also found their diversity to be a strength. From atmospheric psychedelic stoner to more punky grunge, Liminal Space has something for fans of either genre. And Sofia May proves to be a strong front woman. She helps carry the minimalist, piano-driven “Open Cage,” proving that Regina can make almost anything work as long as she’s leading the charge. This holds promise for future outings where more songwriting experience should lead to more cohesive, stronger compositions. Now that Uruguay has a band reviewed on AMG, I’m eagerly awaiting Vatican City to send in their promo.1
Rating: 3.0/5.0
DR: 8 | Format Reviewed: ALAC
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
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