#apr25 — Public Fediverse posts

Record(s) o’ the Month – April 2025

By Angry Metal Guy

“April is the cruellest month,” wrote T.S. Eliot in a poem that no one quoting it has ever finished reading.1 And while Eliot was quite metal in his exquisite, existential despair about WWI or whatever, he never understood true existential dread. I speak, of course, of the dread of being force-fed twenty-five promising albums, half of which are drenched in so much reverb that you feel like you’re swimming, only to realize that you didn’t even review the Record o’ the Month yourself. Regardless, this April continued to be cruel. But this cruelty came bearing bloodied knuckles and a furrowed (and noticably pronounced) brow. Dormant Ordeal took that energy and weaponized it.

It’s not every month that a death metal album crawls out of the woodwork and shatters the Score Safety Counter like a warhammer through a piñata, but Dormant Ordeal—whose new record Tooth and Nail dropped April 18th, 2025, from Willowtip Records [Bandcamp]—did exactly that. Tooth and Nail is a masterclass in (blackened) death metal—”the classic Polish death metal sound”—done right. It’s taut, unreleating, melodic when it counts, and angrier than Angry Metal Guy when reminded of the existence of Disqus. This record hits a sweet spot inside of me best described as the “oh yeah, that’s how death metal is done” spot. The riffs flow, and my brain just opens up the spigots, releasing a veritable tsunami of dopamine. Every riff that cuts, every transition that seethes, and every recognition of the slick, skilled ways that these guys construct songs, I get a nice big kick of that Happy Chemical. Tooth and Nail is dynamic, punishing, aggressive, and better yet, it’s smart. Dormant Ordeal is like a boxer who knows exactly when to drop his guard and knock you out.2 Our very own Tyme was so excited he penned an overwrought review of Angry Metal Guyan proportions. In one of his more uncontainable moments of verbal climax, he ejaculated: “Tooth and Nail represents the absolute best of what Dormant Ordeal can be.” The rest of us wiped down the walls and nodded in agreement. And I, being an instantiation of the will of the staff through my very existence, elected it to be Record o’ the Month.

Runner(s) Up:

Structure // Heritage [April 25th, 2025 | Ardua Music | Bandcamp] — “Solo” doom project Structure did a thing that I never thought possible. It made Steel Druhm feel about a Dutch doom metal project like I felt about The 11th Hour. Oh, also, it crushed our collective will to live in the most painful way possible. A labor of love from Bram Bijlhout of Officium Triste, Heritage is crushing, exquisite, and dramatic in all the right ways. Pim Blankenstein’s vocal contributions take this funeral doom lament to operatic heights. Steel Druhm, while shotgunning his seventh doppelbock, enthusiastically spilled his beer all over the bar while trying to emphasize for everyone slightly louder than necessary that Structure has written “a monumental doom epic that caves in your chest with its raw power and brings a tear to the most jaded eye with its heartwrenching beauty!” He even gave it a 4.5, which is 5.0 in Steel Druhmese. And if none of that convinces you, I, too, concede that this is a great record and I suspect it’s going to be quite present during Listurnalia.

Messa // The Spin [April 11th, 2025 | Metal Blade Records | Bandcamp] — The reason I started doing three, or sometimes four, releases for Record(s) o’ the Month was because there were times when it was just impossible to choose. This month is actually kind of cruel in that all three of these could have been Record o’ the Month without question. Italian doom-jazz mystics Messa put up a good fight with their most seductive release yet. The Spin sheds the sprawl of Close in favor of tighter, moodier bangers. For my part, this is as good as I think they’ve ever sounded. Sharky Shark Boy was right when he said that “Sara’s smouldering, siren-like vocals have hit a whole new level,” lending the compositions a power I don’t remember Messa having. The Spin is doom with eyeliner and a degree in art history—classy, smokey, and ready to crush you with riffs and moody quotes from a Frenchman. While Messa has always had some appeal, there’s something about The Spin that works differently. It’s not like they’re a new band with a new sound, but instead, to quote Sharky Shark Boy, “Rather like using a velvetizer to make your hot chocolate. It’s still hot chocolate. But it’s thicker, richer, and, well, velvet-ier.” Yeah, I think that analogy pretty much says it all. No? Fine, The Dolphin Half of the Aquatic Duo chirped and bobbed overexcitedly: “Music this powerful stands ready to inspire binge listening, tone envy, and, with any luck, another generation hopelessly addicted to six strings screaming at unadvisable volumes.” And that seems like the final word on the matter.

#2025 #Apr25 #DormantOrdeal #Heritage #Messa #OfficiumTriste #RecordSOTheMonth #RecordsOfTheMonth #Structure #The11thHour #TheSpin #ToothAndNail

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Ancient Bards – Artifex Review

By Killjoy

Italy’s Ancient Bards was one of my formative bands as a budding metalhead. Their original trilogy (The Alliance of the Kings, Soulless Child, A New Dawn Ending) received tons of playtime as I dove headfirst through my twin gateways of symphonic and power metal years ago. Then, one fateful day amidst my excitement for a brand new album, I happened upon Eldritch Elitist’s review of Origine by way of a Google search, the first I ever read on Angry Metal Guy. Its brutal and unflinching honesty initially shocked my naïve, uninitiated mind but though I would have rated Origine a touch higher, I had to agree that it was the weakest Ancient Bards record thus far. And now that fifth album, Artifex, is here, I’m relieved to report that this is still the case.

Ancient Bards have now completed their transition from symphonic power metal to power symphonic metal. Songwriter Daniele Mazza’s orchestral and choral arrangements were always important, but now they positively drench the music. It’s impossible not to hear Epica in the unabashed bombastic excess, an association further cemented by a guest appearance from Mark Jansen as he practically breathes fire delivering his lines in “The Empire of Black Death.” Sara Squadrani’s voice sounds sharper than ever, soaring and slicing like the Black Crystal Sword that serves as the focal point for the Bards’ epic saga. Martino Garattoni’s frisky bass noodling crosses over from Ne Obliviscaris to Artifex—especially echoing his other band when paired with the guest violin1 in “Soulbound Symphony”—and offers rich counterpoint melodies while filling out the lower end nicely.

Ancient Bards have grown more confident with increasingly complex songwriting. The choir’s lines are largely distinct from Squadrani’s, discontinuing the prior tendency to dilute her lead vocals. The operatic swells that punctuate “Soulbound Symphony” and “My Prima Nox” supercharge the music with euphoric energy. Further, “My Blood and Blade” literally channels the climactic power of Ancient Bards’ earlier work by cleverly weaving an identical choral melody from A New Dawn Ending’s “Showdown” into this chapter’s final battle. Unfortunately, some of the issues that cropped up on Origine persist on Artifex, most noticeably when the orchestral compositions evoke the heavy-handed, “tell, don’t show” style common in movie trailers (“Ministers of Light,” “Luminance and Abyss,” “Mystic Echoes”). Regardless of how strong each orchestral segment is, it’s disappointing that they’ve essentially supplanted Claudio Pietronik’s guitar leads, which are usually buried underneath everything else outside of their allotted shredding time during the bridges. Artifex is an improvement in many technical respects, but it sometimes feels like the symphonic elements have become the end rather than the means.

Artifex has no shortage of adventurous and exciting moments, but the overall pacing makes it less enthralling as a whole. The hour-long album sags under the weight of two ballads (“Unending,” “Sea of Solitude”) and the two bookending narrative tracks (“Luminance and Abyss,” “Artifex”). “Unending” is particularly troublesome, as it clotheslines the momentum garnered from back-to-back guest vocalists Francesco Cavalieri of Wind Rose (“The Vessel”) and the aforementioned Mark Jansen of Epica (“The Empire of Black Death”). This generic love song stands in stark contrast with other Bards ballads that advanced character development with heart-wrenching topics like the loss of an infant child and, crucially, weren’t afraid to speed things up to keep the listener engaged. Luckily, Squadrani’s raw talent as a singer functions as a safety net when the songwriting fizzles and falls off the track. The other major speedbump is the Suite of Requiem and Solace (the final four songs replacing the customary epic concluding track), which takes a bit too long to wrap up the story after the electric resolution of “My Blood and Blade.”

Artifex is a wild ride with higher highs but also lower lows than ever before. When the symphonic compositions are integrated well, it feels exhilarating; when they feel forced, the songs fall flat. I’m not convinced that moving away from power metal is the right choice, as the guitarists are underutilized in this new style. But, while I don’t agree with every creative decision, I still enjoy Artifex and its masterful performances. It’s a humbling privilege to write the next Ancient Bards review after stumbling onto Eldritch’s years ago. Call it nostalgia if you like, but their earnest, heartfelt music still makes me happy. By that measure, I dub Artifex a success.

Rating: Good!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Limb Music
Websites: ancientbards.bandcamp.com | ancientbards.com | facebook.com/ancientbards
Releases Worldwide: April 25th, 2025

#2025 #30 #AncientBards #Apr25 #Artifex #Cinematic #Epica #ItalianMetal #LimbMusic #NeObliviscaris #PowerMetal #Review #Reviews #SymphonicMetal #SymphonicPowerMetal #WindRose

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod

Sijjin – Helljjin Combat Review

By Mark Z.

I’ve heard people say that today’s music has nothing new to offer, but I actually think it has the opposite problem. To me, there are too many fucking bands out there playing technical blackened dissodeath with a tuba or some shit and not enough who simply take a tried-and-true style and execute it well. Such was what initially drew me to Sijjin. Right around the time their infamous doom-death band Necros Christos dissolved in 2021, bassist/vocalist Malte Gericke and drummer Iván Hernández joined forces with guitarist Ekaitz Garmendia (Legen Beltza) to pay homage to the earliest years of death metal with Sijjin’s full-length debut, Sumerian Promises. With its twisted tremolos and thrashy undercurrents, Sumerian Promises was a fun throwback that reeked with the archaic death stench of bands like Sadistic Intent, Mortem, Atomic Aggressor, and early Morbid Angel. Almost four years later, the group have now finally delivered their second album, Helljjin Combat. But is this a triumphant victory or yet another casualty of the heavy metal battlefield?

One thing is clear: Helljjin Combat is quite a bit different than its predecessor. The change in approach is apparent right from the opener, “Fear Not the Tormentor,” which begins with an extended instrumental opening that uses technical riffing and lively bass guitar in a way that almost sounds like Voivod. The tech-thrash vibe continues throughout the songs’s eight-and-a-half minute runtime, with dexterous fretwork trading off with quick, chunky chords and twirling tremolos, all anchored by a refrain that consists of a staccato shout of the track title. While it’s not the primitive death-thrash I was looking for, it’s a fine song in its own right.

Unfortunately, the rest of the album isn’t quite as successful in executing the band’s new style. It soon becomes apparent that many of these eight tracks spend less time delivering sharp hooks and memorable riffs and more time simply lurching forward on mid-paced pseudo-grooves that only occasionally get the head bobbing. Sometimes, interesting ideas will crop up, like when “Religious Insanity Denies Slavery” evokes old Metallica with a dusty, cleanly-picked midsection that builds into Old West-style lead guitars. Yet moments like this only make it more apparent how so much of the surrounding material fails to stand out. It doesn’t help that none of these songs are under five minutes, and it’s also unfortunate how many of them open with similar-sounding semi-technical riffs that make me contemplate hitting the stop button well before the album’s 49 minutes are over. Malte’s vocals also sound throatier and less raspy than on Sumerian Promises, which is fitting for the band’s new approach but still isn’t the most welcome change.

Fortunately, there’s some stuff to enjoy here. The two pre-release songs, “Dakhma Curse” and “Five Blades,” probably won’t make anyone’s Song ‘O the Year List, but at least their nimble riffing and quicker rhythms offer the album a nice shot of energy. “The Southern Temple” serves as a decent closer with the more powerful riffing in its second half, and the band’s instrumental prowess is more impressive than ever (especially Ekaitz’s adept riffing and solos). Ekaitz recorded the album in his own studio in the Basque Country, and the result is fantastic. The sound is clear and powerful, with the guitars roaring confidently and the bass guitar maintaining an active and distinct presence below the riffing. And while the atmosphere isn’t as strong as the debut, there’s still a whiff of ancient evil here that I find most welcome.

Yet ultimately, Helljjin Combat is the epitome of a Mixed bag. While the production and the instrumental performances are great, the songwriting is less compelling. With a few sharper hooks, tighter track lengths, and a couple of faster songs, Helljjin Combat could have easily been better than Sumerian Promises. As it is, I can’t help but be a bit disappointed that not only did Sijjin choose to move away from death metal and into a more technical thrash metal sound, but also that they didn’t do the best job executing this new style. While there are a couple of decent songs and some impressive things here, I don’t see Helljjin Combat as an album I’ll be returning to often.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Sepulchral Voice Records
Websites: sijjin.bandcamp.com | Facebook | instagram.com/sijjin_official
Releases Worldwide: April 25th, 2025

#25 #2025 #Apr25 #AtomicAggressor #DeathMetal #HelljjinCombat #InternationalMetal #LegenBeltza #Metallica #MorbidAngel #Mortem #NecrosChristos #Review #Reviews #SadisticIntent #SepulchralVoiceRecords #Sijjin #ThrashMetal #Voivod

Cave Sermon – Fragile Wings Review

By Thus Spoke

For the second year in a row, I was blindsided by a silent Cave Sermon drop. At least it didn’t take me 11 months to catch up this time.1 Album number three, Fragile Wings, sees Charlie Parks returning as a solo act, but now handling vocals on top of everything else. This latter is a welcome development, given how well the previous record proved vocals complement and enhance the unique musical style. After Divine Laughter blew my socks off and nonchalantly pushed its way to the top half of my 2024 year-end list, a follow-up so soon filled me with a mixture of excitement and trepidation. Surely he couldn’t do it again? But, of course, he has.

Fragile Wings is instantly recognisable as Cave Sermon, but rather than simply being Divine Laughter part two—not that I would have complained about that—it is tonally quite different. Different, but with the same dreamlike longing at its core. Whereas its predecessor felt nihilistic and angry, Fragile Wings is a little more vulnerable, a little sadder, and more wistful. This shines through the now more prominent melodies, which feel playful and exuberant, in the beguiling way that characterises Cave Sermon’s sound. Fluid layers of liquid strums, riffs that vibrate alternately with urgency and mirth (“Hopeless Magic,” “”Moloch”), and tremolos that burr and hum as much as they warble like songbirds up and down scales (“Three-Headed Moth,” “Ancient to Someone”). The untamed tempos that lead tracks through a series of stomps, sways, charges, and thoughtful pauses are more mischievous than before, in a way that makes explicit the spirited defiance that bubbled within Divine Laughter. Parks’ vocals work just as well as Miguel Méndez’s did, if not better, against this vibrant backdrop, and there’s an additional weight given to the already strange and touching lyrics because their author is now delivering them himself.

Fragile Wings is stirring and vivacious, and somehow outdoes Divine Laughter in its sparkling dynamism and bright unusualness. After arresting with odd, colourful arrangements, Cave Sermon looks wryly over at the listener and says, “watch this,” as some effervescent lead comes frolicking in (“Moloch,” “Three-Headed Moth”), or an already satisfying groove switches to a new dance with a flick and a crash (“Hopeless Magic,” “Ancient for Someone”); you can’t help but smile back. The very way guitars are distorted, and the atmosphere surrounding their notes and the here-skittish, there-assertive percussion, is…different. And this is all charming because it’s not self-indulgent; not weird and challenging and complicated, but refreshing, like a splash of cool water to the face on a hot day. All the more so given how Cave Sermon makes it look easy, creating a soundscape that seems simpler than it is, managing to presage and reprise melodies and rhythms in a way I can only describe as “very cool.” Interwoven strands of ethereal ambience—warm strums and purring high notes (“Arrows and Clay,” “Sunless Morning”)—violent sludgy riffs and a tripping, resonant drumbeat (“Moloch,” “Ancient for Someone”); symphonies of burbling tremolo and synths (“Hopeless Magic,” “Ancient for Someone”); and the delicate assuredness of wavering melodies, each are so carefully placed, but weightless, as though carried by some spirited wind that breezes through each track.

In this organic, careless novelty and expression, Fragile Wings continues what Divine Laughter established, but does it better. Not only is it more poignant, it flows with a more tangible through-line, and even cleverer rhythmic interplay. There is no track-length ambient noise here; this tendency is relegated to the faded conversation that closes “Arrows and Clay,” and the birdsong scattered over the serene first act of “Sunless Morning.” The difference is that these are not divorced from the music, but part of it, contributing to its sense of nostalgia, and sombre reflectiveness. A harsher version of me would still argue that the first half of “Sunless Morning” is a bit too slow of a build, but another would gesture fanatically at the song’s second act, with its quaking bass refrain and heartfelt tremolo descent melody that might actually be the best on the album, before it enters another wild dance I won’t spoil. Cave Sermon has refined their ability to transition between energies and styles whilst keeping the tone consistent. So seamless is the integration that it no longer feels like multiple genres are in play, but like a new one entirely.

Fragile Wings confirms what I had secretly hoped, that Divine Laughter was not just lightning in a bottle. If anything, it only raises the bar. Cave Sermon create music that is some magical combination of emotionally stirring, endlessly engrossing, and completely unique. There is simply no other artist in metal making music like them.2 You have to hear this.

Rating: Excellent3
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Website: Bandcamp
Releases Worldwide: April 16th, 2025

Show 3 footnotes

1. Thank you, Dolph. ↩
2. If there is, please tell me who they are. ↩
3. Watch this space for a possible contrite upgrade. ↩

#2025 #45 #Apr25 #AustralianMetal #BlackMetal #CaveSermon #DeathMetal #ExperimentalMetal #FragileWings #PostMetal #Review #Reviews #SelfReleased #Sludge

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand

Flummox – Southern Progress Review

By Kenstrosity

Originally slated to be my main Thing You Might Have Missed feature, Tennessee avant-garde metal quintet Flummox’s fifth LP Southern Progress caught me completely off guard. Attracted to the prompt “their most obnoxious album yet,” I wasn’t sure what to expect from my first exposure to Flummox’s work. I figured it might be weird, but it’s also distinctive, fun, and infectious. Fearlessly creative, deeply detailed, lyrically cutting, and stupidly intelligent, Southern Progress rapidly became my favorite record released so far this year. It doesn’t seem likely now that anything out of the metalverse this year will surpass it.

Southern Progress embodies a rhizomic system of inspirations and influences that, when harnessed by Flummox’s wacky brains, emerges from the soil as something wholly unique in style, sound, and intent. My best attempt to contextualize this material would involve names from the progsphere like Fair to Midland, Native Construct, Pink Floyd, early Queen, and Mike Patton; purveyors of the extreme such as Strapping Young Lad and Slugdge; avant-garde touchstones like Mr. Bungle, Igorrr, and Diablo Swing Orchestra; genre-jumpers such as King Gizzard and the Lizard Wizard; and even cinematic composers like Danny Elfman and Hans Zimmer.1 Ultimately, though, there is no comfortable comparison. Flummox are a singular entity of weird, wild, theatrical metal capable of nailing every bizarre idea they throw at me, such that in less than a week, I had a majority portion of Southern Progress’ 57-minute runtime pinned to my psyche. All the while, its candid exposition of the queer and genderfluid experience in the Bible Belt (“Southern Progress”) struck a chord so rarely plucked by music on this sphere, and its inspired exploration of the neurodivergent experience as one of its parallel plot lines (“Executive Dysfunction”) gave me an easy avenue to resonate even more deeply with its voice.

The tricky reality of Southern Progress is that 750 words is woefully insufficient to encompass all that Flummox achieves, but its primary triumph is in universal songwriting excellence. Music like this marks a once-in-a-blue-moon occasion—and an ambitious undertaking—but Flummox makes it look effortless as they balance the beauty of melodious, theatrical compositions with the livid, frothing rabidity of searing, off-kilter riffs, thunderous rhythms, and revolutionary attitude (“Southern Progress,” “Femto’s Theme,” “Long Pork,” “Executive Dysfunction”). While these elements are familiar to anyone with experience in the metalverse, their twisted forms instead leave a vivid impression of something altogether more eccentric and uncanny (“Southern Progress,” “Nesting Doll,” “Locust Eater,” “Coyote Gospel”). Well-defined structures and concrete themes play their part in making sure these warped representations stick. Presenting every unhinged idea, cynical line, and explosive outburst inside a digestible package makes Southern Progress somehow even stranger and more enthralling for its deceiving accessibility (“What We’re In For…,” “Always Something Going Down,” “Siren Shock,” “Flumlindalë”).

In spite of its unquestionable adoption of metallic methods, Southern Progress is an intensely theatrical affair unfit for the genrephobic, but is nonetheless something everyone should experience at least once. Challenging in a different way than Imperial Triumphant or other known creators of what certain pundits call “not music,” Flummox is similarly fearless in their exploration of style and technique, and equally meticulous in application and execution. To that end, Southern Progress’ music is mutated and maniacal, but grounded through several root elements: emotional depth, societal awareness, thoughtful critiques, and artistic integrity. More than just a vehicle for that cogent societal commentary, the potent passion that each member of Flummox hemorrhaged into Southern Progress is unmatched by all except the unfuckwithable technical quality of their writing and performances. The fact that this intangible factor boasts such strong presence inside of, and coalesces so harmoniously with, the tangible product proves that Flummox’s dedication, attention to detail, and intentional artistry contributes meaningful substance and significance not just to Southern Progress on its own, but also to the greater body of metal as we know it today.

It is for this reason that Flummox’s Southern Progress isn’t just an excellent album, but also an important one. Aside from its high artistic merit, Southern Progress is a timely and fierce challenge against the dehumanization of queer, gender-nonconforming, and even neurodivergent communities across the American South—and, by extension, the country—especially by organized religious (read: Christian) entities. But it’s also a celebration, a triumphant expression of pride and love and resilience that only comes from openly and unashamedly discovering, struggling with, and ultimately embodying all that you are in spirit, body, and mind. Everyone deserves to know this feeling without fear of stigmatization, fetishization, violence, or isolation. Southern Progress is an unorthodox and fun, but wildly effective, advocate for that cause.

Rating: Excellent!2
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Needlejuice Records
Websites: flummoxed.bandcamp.com | facebook.com/flummoxband
Releases Worldwide: April 11th, 2025

Show 2 footnotes

1. Specifically, Zimmer’s work for Rango’s OST. ↩
2. You should expect to see me within a year or so, Contrite and ashamed that I didn’t award this the coveted Iconic score! ↩

#2025 #45 #AmericanMetal #Apr25 #AvantGarde #BlackMetal #DannyElfman #DeathMetal #DiabloSwingOrchestra #ExperimentalMetal #FairToMidland #Flummox #FolkMetal #Gospel #HansZimmer #Igorrr #ImperialTriumphant #KingGizzardAndTheLizardWizard #MelodicMetal #MikePatton #MrBungle #NativeConstruct #NeedlejuiceRecords #PinkFloyd #ProgressiveMetal #Queen #Review #Reviews #Slugdge #SouthernProgress #StrappingYoungLad

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Behölder – In the Temple of the Tyrant Review

By Steel Druhm

When members of various obscure power and prog metal bands like Shadowdance and Chaos Frame managed to recruit Judicator’s John Yelland for an epic doom project heavily inspired by Dungeons & Dragons, Steel was unable to resist hearing the results. So he took a flyer on Behölder and their In the Temple of the Tyrant debut and hoped for good doom things. Would it be utter cheese and need a high-level necromancer to save it? Would it be a rousing, sword-swinging platter or Iron Age heroics? As it turns out, In the Temple of the Tyrant is more like Crypt Sermon mixed with a modest dose of Hammerfall-esque power and seasoned with the muscular machismo of Eternal Champion. Does the sound of that meaty broth get your sword rising? Me too. Let’s fight!

The best way to open an epic doom album is with some hefty epic doom, and Behölder does just that with “A Pale Blood Sky.” It’s very Crypt Sermon / Candlemassive, with big, crunchy doom riffs and slick melodic trills. Yellen’s powerful and enthusiastic delivery rounds out the doom enchilada excellently, taking us on a trip through dark crypts and creepy vistas. It’s the kind of doom I eat up like candied bacon, and I love this tune muchly. It’s powerful, but oh so accessible and entertaining, and shows that these cats know their chosen genre very well. “Eyes of the Deep” is another killer, with a strong Eternal Champion vibe. Tomi Joutsen of Amorphis shows up on the back end to drop immense death roars that take the song to the next level and everything is slick and compelling as fook. “For Those Who Fell” is like the glorious Hammerfall power ballads of old (their first 2 albums) and it sucks you in and keeps you hanging on. “Draconian (Slave or Master)” is a ridiculously hooky cut elevated to glorious heights by Yellan’s epical vocals. You will not forget the chorus, and it will haunt you onto death. This one has Song o’ the Year written all over it, folks.

While the highs on the album are very high, there are a few tracks that can’t scale the same summit. “Dungeon Master” is just okay and overly tongue-in-cheek as it takes the perspective of those master nerd game planners a bit too seriously. It doesn’t vibe well with the huge epic doom flavor of the surrounding tracks and takes you out of that headspace. Closer “I Magus” is also a bit underbaked. It’s plenty riffy with a Sanctuary / Nevermore vibe, but it never gets rolling into high gear. Likewise, “Summoned & Bound” trods on the path to greatness laid out by classic Candlemass, but it never completes the journey, becoming somewhat unsatisfying by the end. No song is completely unworthy, however, and as a cohesive album, this thing is a whole lotta fun from start to finish.

John Yellan is the star of the show here, with his vocals elevating the material several notches. On the best stuff, he takes it to the house, bringing poise and grace to the doom show. He manages to keep his performance restrained and doesn’t overdo things, nor does he rely on high-pitched wailing to emphasize the dramatic bits. He gives the songs just the right amount of power and poise and does a great job throughout. Founder and band mastermind Carlos Alvarez, along with Matt Hodson of Chaos Frame, bring a healthy selection of large doom leads and stirring solos, while dabbling in plenty of traditional and power metal spaces along the way. I like their work best when they stay in the Candlemass / Crypt Sermon vein, but I can’t argue one bit with departures like “Draconian (Slave or Master).”

Behölder have chops across the board, and when their writing comes together, you get great tunes full of nods to genre masters. If the writing was a touch more consistent, this would be my first 4.0 of 2025, but In the Temple of the Tyrant falls a bit short of those lofty heights. Yet there are several songs that could end up as my Song o’ the Year, and that’s saying something about the strength of this googly-eyed floating beast. Roll the dice, hear this, find the moments that thrill your inner warrior. Swords up for Behölder!

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: beholderblacklion.bandcamp.com | facebook.com/beholderdoom
Releases Worldwide: April 25th, 2025

#2025 #35 #AmericanMetal #Apr25 #Behölder #BlackLionRecords #Candlemass #CryptSermon #EpicDoomMetal #EternalChampion #Hammerfall #HeavyMetal #InTheTempleOfTheTyrant #Judicator #Review #Reviews #Sorcerer

Valhalore – Beyond the Stars Review

By Twelve

Valhalore is a great name for a band. Don’t get me wrong, I think it’s a little goofy—but look, you get it instantly. “Valhalla?” Folk metal. “Lore?” Symphonic/power metal. Put them together and you get that exact album cover. Beyond the Stars is Valhalore’s sophomore release, following a seven-year silence from their debut. It’s a long time to cook up something cool, and I’m an easy mark for this kind of music, but Valhalore are treading a well-worn path in their fusion of styles. The question is certainly not what kind of music you’ll find on Beyond the Stars, but how well it is executed and what will set these Australians apart from their many contemporaries.

The answer to the question, of course, is wind instruments. Valhalore do indeed play a blend of symphonic, folk, and power metal that treads easily into melodic death metal; the three guitarists (Anthony Willis, Lucas Fisher, and Joseph Dipisa-Fiorenza on bass) bring on the power, the riffs, and the leads; there are roars and clean singing (Fisher and Lachlan Neate), and Morgan Cox’s drumming keeps exactly the right pace for the adventurous spirit of the album. All of that is standard, but Sophie Christensen is what sets Beyond the Stars apart, her contribution of wind instruments present throughout. These flutes and pipes soften the music somewhat, offering a powerful counter to what is otherwise a fast-paced, heavy folk metal album. Combine this with cello and mandolin from Neate and you get an album that deftly balances strong power metal with organic, authentic folk tunes.

Authenticity really is the key here. Beyond the Stars bears some resemblance to Time II (Wintersun) in its pace and seeming influence from Japan in the wind section, but avoiding samples allows Valhalore to breathe more easily. From there, it’s all about balance. “Within the Fire” is a great song with strong riffs, a huge build, and an awesome chorus, and the same can be said for “A Walk Among the Stars.” Valhalore is a little given to the standard idea of balancing growling verses with catchy, clean-sung choruses, but what the heck—it’s standard for a reason, and they execute it well. On the softer side, “Wayfinder” demonstrates more clearly than any other song the power of authenticity. For much of the song, the mandolin, cello, and wind instruments are all the support the singing needs. It’s frankly gorgeous, and demonstrates the breadth of talent in performance and songwriting Valhalore are working with, not to mention the emotion, without which the whole thing would fall apart.

To some extent, Beyond the Stars suffers from having too much of a good thing. A little repetition in a strong formula is hardly bad, but I find the journey stalls a touch in the middle. After the stunner that is “Wayfinder,” neither “Horizon” nor “The World Between” land for me; both feel like lesser versions of the trio that opens the album. In the case of “Horizon,” I can’t help but feel the guitars would be stronger leads for the song’s aggressive pace, and I just don’t care much for the chorus in “The World Between.” With so much formula seemingly at work, it is perhaps unsurprising that the full forty-eight minutes is not fully engaging. For more evidence of this idea, see “Heart of the Sea,” the song that shatters this feeling—and the one most unlike the others. Part of that is the guest spot from Anny Murphy (Cellar Darling, ex-Eluveitie), but much of it is simply the great writing, catchy vocal lines, and sense of something different. It’s almost progressive in its writing, and it feels wistful and strong, again with the emotional vibrancy of Valhalore coming up to shine.

Beyond the Stars is a very fun album. To some extent, it is predictable—you’re not in for any serious surprises, but rather for an exciting style of metal written and performed very well. It’s a little familiar and a lot fun, and you can hear that Valhalore are seasoned musicians who love what they do. For my part, I feel right at home here, and it seems they do too. Hopefully, we won’t have to wait so long for the next instalment—I would love more of this music in my life.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Roar Rock of Angels Records
Websites: valhalore.bandcamp.com | facebook.com/valhalore
Releases Worldwide: April 11th, 2025

#2025 #30 #Apr25 #AustralianMetal #BeyondTheStars #CellarDarling #Eluveitie #FolkMetal #MelodicDeathMetal #Review #Reviews #RoarRockOfAngelsRecords #SymphonicMetal #Valhalore #Wintersun

Lik – Necro Review

By El Cuervo

Lik have become a low-key favorite among the old school death metal nerds of Angry Metal Guy. Mass Funeral Evocation is one of stronger debuts from the last decade, while Carnage doubled down on its strengths. While I personally found Misanthrophic Breed less compelling, it had fans among other writers. And besides two albums of great (and one album of average) death metal, Lik have also gifted me one of the coolest experiences of my life: the immortal Mikael Stanne fist-bumping me as I donned one of their shirts at 70000 Tons of Metal. It was therefore with high expectations that I embarked on this review.

At its core, Necro remains an old school death metal album. The spectres of Entombed and Dismember loom heavily over Lik; such is the lot of all Swedish metalheads indulging in a spot of the necrophiliac arts. But recent years have also found the troupe eagerly devouring the corpse of In Flames, if buried in their 90s heyday. “War Praise” opens with a machine-gunning lead you might expect from an early 90s death metal record, but this swiftly gives way to a shredding lick that caps the song’s introduction and acts as an instrumental quasi-chorus. The shredding guitar tone skips over the harshness of At the Gates and bee-lines straight for the relative clarity of their more melodic comparators. It’s just a brief taster of a melodic sound that will recur later on the album. Make no mistake; this is still death metal of the blood-spattered variety. But the melodic punch belies a group casting their deathly gaze away from their Stockholm roots towards Gothenburg on the other side of the country.

As if to assuage any trepidation of existing fans concerned about “melody” or “hooks” (forgetting, of course, that Lik have always favored hooks, even if heavy ones), the vast majority of the ten tracks here prioritize the fusion of bludgeoning rhythms and scything melodies that is unique to Swedish death metal. Though Necro may have a melodic knack, the savage bite of its guitars always comes first. “Worms Inside” features a particularly fast and brutal opening, leading with a riff that bulges like a vein on the verge of explosion. And “Shred into Pieces” almost has the speed and relentlessness of grindcore. The energetic vocalist barks through ridiculous lyrics that are as violent as they are depraved, while the drums sound more powerful than ever as they’re presented more prominently in the mix than previously. Lik manifest a never-ending pursuit of exciting, energetic music, and their morgue-defiling enthusiasm is infectious.

Besides the judicious injection of melody through cleaner guitar tones and/or harmonizing guitars, Necro further demonstrates a song-writing hand that’s beginning to develop from pure, old school death metal. “Morgue Rat” opens with a purring bass and techy leads, but later orients around the rhythmic, expressive vocals, its lyrics dripping with blood and semen. While they begin in guttural territory, the back half progresses to a blacker, witchy shriek. Likewise, an unexpected mid-song interlude lends an air of intrigue and re-energizes the song for its finale. “In Ruins” is the most expansive track here; it deliberately shuffles a slower, doomy introduction, frenzied solos, pulsating rhythms, and harmonized shouts into a song that feels more than the sum of these parts. This and “Rotten Inferno” feel more thoughtful and varied as they frequently switch gears and escape the trappings of a verse/chorus structure.

Necro is a fundamentally sound album. It does what all good old school death metal albums do by focusing on razor-sharp leads, lo-fi production,n and energetic song-writing. It’s impossible to be a fan of death metal and not enjoy Lik. So why no better than a 3.5? I still feel that the sharpest edges in the Lik discography are in the past; Necro just isn’t as joyous or memorable as Mass Funeral Evocation or Carnage. Although it strives to expand the core sounds it uses, it isn’t so good as to escape the trappings of a sound that’s already been heard many times over. I didn’t necessarily expect more, but I had hoped the newfound development might push the band a little further.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Metal Blade Records
Websites: likofficial.bandcamp.com | facebook.com/lik
Releases Worldwide: April 18th, 2025

#2025 #35 #Apr25 #AtTheGates #DeathMetal #Dismember #Entombed #InFlames #LIK #Necro #Review #Reviews #SwedishMetal

Lik – Necro Review

By El Cuervo

Lik have become a low-key favorite among the old school death metal nerds of Angry Metal Guy. Mass Funeral Evocation is one of stronger debuts from the last decade, while Carnage doubled down on its strengths. While I personally found Misanthrophic Breed less compelling, it had fans among other writers. And besides two albums of great (and one album of average) death metal, Lik have also gifted me one of the coolest experiences of my life: the immortal Mikael Stanne fist-bumping me as I donned one of their shirts at 70000 Tons of Metal. It was therefore with high expectations that I embarked on this review.

At its core, Necro remains an old school death metal album. The spectres of Entombed and Dismember loom heavily over Lik; such is the lot of all Swedish metalheads indulging in a spot of the necrophiliac arts. But recent years have also found the troupe eagerly devouring the corpse of In Flames, if buried in their 90s heyday. “War Praise” opens with a machine-gunning lead you might expect from an early 90s death metal record, but this swiftly gives way to a shredding lick that caps the song’s introduction and acts as an instrumental quasi-chorus. The shredding guitar tone skips over the harshness of At the Gates and bee-lines straight for the relative clarity of their more melodic comparators. It’s just a brief taster of a melodic sound that will recur later on the album. Make no mistake; this is still death metal of the blood-spattered variety. But the melodic punch belies a group casting their deathly gaze away from their Stockholm roots towards Gothenburg on the other side of the country.

As if to assuage any trepidation of existing fans concerned about “melody” or “hooks” (forgetting, of course, that Lik have always favored hooks, even if heavy ones), the vast majority of the ten tracks here prioritize the fusion of bludgeoning rhythms and scything melodies that is unique to Swedish death metal. Though Necro may have a melodic knack, the savage bite of its guitars always comes first. “Worms Inside” features a particularly fast and brutal opening, leading with a riff that bulges like a vein on the verge of explosion. And “Shred into Pieces” almost has the speed and relentlessness of grindcore. The energetic vocalist barks through ridiculous lyrics that are as violent as they are depraved, while the drums sound more powerful than ever as they’re presented more prominently in the mix than previously. Lik manifest a never-ending pursuit of exciting, energetic music, and their morgue-defiling enthusiasm is infectious.

Besides the judicious injection of melody through cleaner guitar tones and/or harmonizing guitars, Necro further demonstrates a song-writing hand that’s beginning to develop from pure, old school death metal. “Morgue Rat” opens with a purring bass and techy leads, but later orients around the rhythmic, expressive vocals, its lyrics dripping with blood and semen. While they begin in guttural territory, the back half progresses to a blacker, witchy shriek. Likewise, an unexpected mid-song interlude lends an air of intrigue and re-energizes the song for its finale. “In Ruins” is the most expansive track here; it deliberately shuffles a slower, doomy introduction, frenzied solos, pulsating rhythms, and harmonized shouts into a song that feels more than the sum of these parts. This and “Rotten Inferno” feel more thoughtful and varied as they frequently switch gears and escape the trappings of a verse/chorus structure.

Necro is a fundamentally sound album. It does what all good old school death metal albums do by focusing on razor-sharp leads, lo-fi production,n and energetic song-writing. It’s impossible to be a fan of death metal and not enjoy Lik. So why no better than a 3.5? I still feel that the sharpest edges in the Lik discography are in the past; Necro just isn’t as joyous or memorable as Mass Funeral Evocation or Carnage. Although it strives to expand the core sounds it uses, it isn’t so good as to escape the trappings of a sound that’s already been heard many times over. I didn’t necessarily expect more, but I had hoped the newfound development might push the band a little further.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Metal Blade Records
Websites: likofficial.bandcamp.com | facebook.com/lik
Releases Worldwide: April 18th, 2025

#2025 #35 #Apr25 #AtTheGates #DeathMetal #Dismember #Entombed #InFlames #LIK #Necro #Review #Reviews #SwedishMetal

Lik – Necro Review

By El Cuervo

Lik have become a low-key favorite among the old school death metal nerds of Angry Metal Guy. Mass Funeral Evocation is one of stronger debuts from the last decade, while Carnage doubled down on its strengths. While I personally found Misanthrophic Breed less compelling, it had fans among other writers. And besides two albums of great (and one album of average) death metal, Lik have also gifted me one of the coolest experiences of my life: the immortal Mikael Stanne fist-bumping me as I donned one of their shirts at 70000 Tons of Metal. It was therefore with high expectations that I embarked on this review.

At its core, Necro remains an old school death metal album. The spectres of Entombed and Dismember loom heavily over Lik; such is the lot of all Swedish metalheads indulging in a spot of the necrophiliac arts. But recent years have also found the troupe eagerly devouring the corpse of In Flames, if buried in their 90s heyday. “War Praise” opens with a machine-gunning lead you might expect from an early 90s death metal record, but this swiftly gives way to a shredding lick that caps the song’s introduction and acts as an instrumental quasi-chorus. The shredding guitar tone skips over the harshness of At the Gates and bee-lines straight for the relative clarity of their more melodic comparators. It’s just a brief taster of a melodic sound that will recur later on the album. Make no mistake; this is still death metal of the blood-spattered variety. But the melodic punch belies a group casting their deathly gaze away from their Stockholm roots towards Gothenburg on the other side of the country.

As if to assuage any trepidation of existing fans concerned about “melody” or “hooks” (forgetting, of course, that Lik have always favored hooks, even if heavy ones), the vast majority of the ten tracks here prioritize the fusion of bludgeoning rhythms and scything melodies that is unique to Swedish death metal. Though Necro may have a melodic knack, the savage bite of its guitars always comes first. “Worms Inside” features a particularly fast and brutal opening, leading with a riff that bulges like a vein on the verge of explosion. And “Shred into Pieces” almost has the speed and relentlessness of grindcore. The energetic vocalist barks through ridiculous lyrics that are as violent as they are depraved, while the drums sound more powerful than ever as they’re presented more prominently in the mix than previously. Lik manifest a never-ending pursuit of exciting, energetic music, and their morgue-defiling enthusiasm is infectious.

Besides the judicious injection of melody through cleaner guitar tones and/or harmonizing guitars, Necro further demonstrates a song-writing hand that’s beginning to develop from pure, old school death metal. “Morgue Rat” opens with a purring bass and techy leads, but later orients around the rhythmic, expressive vocals, its lyrics dripping with blood and semen. While they begin in guttural territory, the back half progresses to a blacker, witchy shriek. Likewise, an unexpected mid-song interlude lends an air of intrigue and re-energizes the song for its finale. “In Ruins” is the most expansive track here; it deliberately shuffles a slower, doomy introduction, frenzied solos, pulsating rhythms, and harmonized shouts into a song that feels more than the sum of these parts. This and “Rotten Inferno” feel more thoughtful and varied as they frequently switch gears and escape the trappings of a verse/chorus structure.

Necro is a fundamentally sound album. It does what all good old school death metal albums do by focusing on razor-sharp leads, lo-fi production,n and energetic song-writing. It’s impossible to be a fan of death metal and not enjoy Lik. So why no better than a 3.5? I still feel that the sharpest edges in the Lik discography are in the past; Necro just isn’t as joyous or memorable as Mass Funeral Evocation or Carnage. Although it strives to expand the core sounds it uses, it isn’t so good as to escape the trappings of a sound that’s already been heard many times over. I didn’t necessarily expect more, but I had hoped the newfound development might push the band a little further.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Metal Blade Records
Websites: likofficial.bandcamp.com | facebook.com/lik
Releases Worldwide: April 18th, 2025

#2025 #35 #Apr25 #AtTheGates #DeathMetal #Dismember #Entombed #InFlames #LIK #Necro #Review #Reviews #SwedishMetal

Lik – Necro Review

By El Cuervo

Lik have become a low-key favorite among the old school death metal nerds of Angry Metal Guy. Mass Funeral Evocation is one of stronger debuts from the last decade, while Carnage doubled down on its strengths. While I personally found Misanthrophic Breed less compelling, it had fans among other writers. And besides two albums of great (and one album of average) death metal, Lik have also gifted me one of the coolest experiences of my life: the immortal Mikael Stanne fist-bumping me as I donned one of their shirts at 70000 Tons of Metal. It was therefore with high expectations that I embarked on this review.

At its core, Necro remains an old school death metal album. The spectres of Entombed and Dismember loom heavily over Lik; such is the lot of all Swedish metalheads indulging in a spot of the necrophiliac arts. But recent years have also found the troupe eagerly devouring the corpse of In Flames, if buried in their 90s heyday. “War Praise” opens with a machine-gunning lead you might expect from an early 90s death metal record, but this swiftly gives way to a shredding lick that caps the song’s introduction and acts as an instrumental quasi-chorus. The shredding guitar tone skips over the harshness of At the Gates and bee-lines straight for the relative clarity of their more melodic comparators. It’s just a brief taster of a melodic sound that will recur later on the album. Make no mistake; this is still death metal of the blood-spattered variety. But the melodic punch belies a group casting their deathly gaze away from their Stockholm roots towards Gothenburg on the other side of the country.

As if to assuage any trepidation of existing fans concerned about “melody” or “hooks” (forgetting, of course, that Lik have always favored hooks, even if heavy ones), the vast majority of the ten tracks here prioritize the fusion of bludgeoning rhythms and scything melodies that is unique to Swedish death metal. Though Necro may have a melodic knack, the savage bite of its guitars always comes first. “Worms Inside” features a particularly fast and brutal opening, leading with a riff that bulges like a vein on the verge of explosion. And “Shred into Pieces” almost has the speed and relentlessness of grindcore. The energetic vocalist barks through ridiculous lyrics that are as violent as they are depraved, while the drums sound more powerful than ever as they’re presented more prominently in the mix than previously. Lik manifest a never-ending pursuit of exciting, energetic music, and their morgue-defiling enthusiasm is infectious.

Besides the judicious injection of melody through cleaner guitar tones and/or harmonizing guitars, Necro further demonstrates a song-writing hand that’s beginning to develop from pure, old school death metal. “Morgue Rat” opens with a purring bass and techy leads, but later orients around the rhythmic, expressive vocals, its lyrics dripping with blood and semen. While they begin in guttural territory, the back half progresses to a blacker, witchy shriek. Likewise, an unexpected mid-song interlude lends an air of intrigue and re-energizes the song for its finale. “In Ruins” is the most expansive track here; it deliberately shuffles a slower, doomy introduction, frenzied solos, pulsating rhythms, and harmonized shouts into a song that feels more than the sum of these parts. This and “Rotten Inferno” feel more thoughtful and varied as they frequently switch gears and escape the trappings of a verse/chorus structure.

Necro is a fundamentally sound album. It does what all good old school death metal albums do by focusing on razor-sharp leads, lo-fi production,n and energetic song-writing. It’s impossible to be a fan of death metal and not enjoy Lik. So why no better than a 3.5? I still feel that the sharpest edges in the Lik discography are in the past; Necro just isn’t as joyous or memorable as Mass Funeral Evocation or Carnage. Although it strives to expand the core sounds it uses, it isn’t so good as to escape the trappings of a sound that’s already been heard many times over. I didn’t necessarily expect more, but I had hoped the newfound development might push the band a little further.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Metal Blade Records
Websites: likofficial.bandcamp.com | facebook.com/lik
Releases Worldwide: April 18th, 2025

#2025 #35 #Apr25 #AtTheGates #DeathMetal #Dismember #Entombed #InFlames #LIK #Necro #Review #Reviews #SwedishMetal

Tribunal – In Penitence and Ruin Review

By Steel Druhm

Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?

The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.

While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.

While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.

This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025

#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal

Tribunal – In Penitence and Ruin Review

By Steel Druhm

Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?

The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.

While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.

While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.

This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025

#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal

Tribunal – In Penitence and Ruin Review

By Steel Druhm

Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?

The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.

While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.

While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.

This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025

#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal

Tribunal – In Penitence and Ruin Review

By Steel Druhm

Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?

The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.

While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.

While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.

This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025

#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal

Crypts of Despair – We Belong in the Grave Review

By Kenstrosity

When Lithuanian death metal outfit Crypts of Despair dropped All Light Swallowed back in 2021, I was impressed with their destructive riffs, dynamic songwriting, and oppressive tone. The record boasted a never-ending assault of killer passages and memorable atmosphere that, in time, only grew in depth. Unsurprisingly, I felt great excitement at the prospect of a new Crypts of Despair when Transcending Obscurity announced third LP We Belong in the Grave late last year. By that same coin, you can imagine my utter disappointment at what arose from this crypt.

What was once easily categorized as a brutal take on the blackened death metal blueprint now lies in ashes. Today, Crypts of Despair plays a thankfully still brutal take on deathcore. So stark is the difference that at first, I was certain I had mixed up my bands when I picked this up. I was shocked to learn I had not. How this happened, I am uncertain, as only their second guitarist changed between 2021 and 2025. Nonetheless, the ripping tremolos and buttery-smooth songwriting of All Light Swallowed are a thing of the past. In its place, chugging ruts, Deathcore Standard Eerie Background Melodies (DSEBM for short), monotonous guttural roars backed by stereotypical scathing rasps, and what sounds to these ears like a total lack of songwriting identity. I could easily pick Crypts of Despair out of a lineup four years ago. Now, I doubt my ability to discern. At least the pools of skronky death and core from which they pull are decent company—I hear notes of early Nightmarer, AngelMaker, and Fit for an Autopsy peppering We Belong in the Grave. Nonetheless, the stylistic whiplash proved a monumental obstacle to my enjoyment of this new record, an obstacle that vexes me even as I write this piece.

First the positives: Crypts of Despair are still well versed in the way of The Riff™. Early standouts “Terminal Dais” and “Expulsion to Purgatory” offer massively headbangable motifs that are guaranteed to crush the strongest of bone into dust. Back-half heroes “Undisillusioned” and “Precipitous” muster a stompy groove the likes of which threaten the structural integrity of any concert floor, certain to incur considerable repair expenses to any venue. Blackened touches and intimidating background atmosphere still exist in an effort to invoke Crypts of Despair’s apocalyptic character, giving otherwise boilerplate tracks “Obliteration of the Impure” and “Seizures” much-needed flavor. Many such elements are similar on the surface to what Crypts of Despair implemented in the past, but are applied a bit differently now. That’s not a bad thing, as it showcases Crypts of Despair’s willingness to experiment with their sound and grow accustomed to unexplored sonic territory.

The unfortunate piece of that journey here is the total lack of songwriting that came along for the ride. Even decent tracks like “Seizures” struggle to impress upon the listener a sense of story, character development, or substance. Opener “We Belong in the Grave” constitutes a dire misfire, feeling every bit as fluffy and forgettable as your average throwaway instrumental intro, and yet it is a fully equipped “song.” The problem is that it lacks any sort of distinguishing characteristics or movement to earn it the moniker. The same critique can be extended to the closing duo “Gaze of the Adversary” and “Burial of the World.” Neither exhibits any evidence of a fully fleshed-out idea, instead spinning their wheels deeper and deeper into the mucky byproduct of wasted time. The production reflects this lack of depth as well, imposingly loud and deeply polished with flat, modern tones that feel at odds with Crypts of Despair’s mission statement up to this point.

One thing that remains untouched: Crypts of Despair are as livid as ever at humanity writ large. And they are right to be, for any number of reasons! That said, nothing much else remains intact after this updated set of sonic, visual, and engineering aesthetics bulldozed what was once a powerful, distinct, and compelling identity. We Belong in the Grave represents a band trying something different and making a real effort to make an unfamiliar style work in their image. It also represents a band failing to back that new sound up with the same elevated songwriting that made All Light Swallowed a triumph. For those who enjoy the chugging breakdowns and mid-paced monotony of cookie-cutter deathcore, this might be a step up from what populates that rotation. Otherwise, if you are familiar with Crypts of Despair, prepare to despair. This adjustment is going to hurt.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: cryptsofdespair.bandcamp.com | facebook.com/cryptsofdespair
Releases Worldwide: April 18th, 2025

#20 #2025 #AngelMaker #Apr25 #CryptsOfDespair #DeathMetal #Deathcore #FitForAnAutopsy #LithuanianMetal #Nightmarer #Review #Reviews #TranscendingObscurityRecords #WeBelongInTheGrave

Crypts of Despair – We Belong in the Grave Review

By Kenstrosity

When Lithuanian death metal outfit Crypts of Despair dropped All Light Swallowed back in 2021, I was impressed with their destructive riffs, dynamic songwriting, and oppressive tone. The record boasted a never-ending assault of killer passages and memorable atmosphere that, in time, only grew in depth. Unsurprisingly, I felt great excitement at the prospect of a new Crypts of Despair when Transcending Obscurity announced third LP We Belong in the Grave late last year. By that same coin, you can imagine my utter disappointment at what arose from this crypt.

What was once easily categorized as a brutal take on the blackened death metal blueprint now lies in ashes. Today, Crypts of Despair plays a thankfully still brutal take on deathcore. So stark is the difference that at first, I was certain I had mixed up my bands when I picked this up. I was shocked to learn I had not. How this happened, I am uncertain, as only their second guitarist changed between 2021 and 2025. Nonetheless, the ripping tremolos and buttery-smooth songwriting of All Light Swallowed are a thing of the past. In its place, chugging ruts, Deathcore Standard Eerie Background Melodies (DSEBM for short), monotonous guttural roars backed by stereotypical scathing rasps, and what sounds to these ears like a total lack of songwriting identity. I could easily pick Crypts of Despair out of a lineup four years ago. Now, I doubt my ability to discern. At least the pools of skronky death and core from which they pull are decent company—I hear notes of early Nightmarer, AngelMaker, and Fit for an Autopsy peppering We Belong in the Grave. Nonetheless, the stylistic whiplash proved a monumental obstacle to my enjoyment of this new record, an obstacle that vexes me even as I write this piece.

First the positives: Crypts of Despair are still well versed in the way of The Riff™. Early standouts “Terminal Dais” and “Expulsion to Purgatory” offer massively headbangable motifs that are guaranteed to crush the strongest of bone into dust. Back-half heroes “Undisillusioned” and “Precipitous” muster a stompy groove the likes of which threaten the structural integrity of any concert floor, certain to incur considerable repair expenses to any venue. Blackened touches and intimidating background atmosphere still exist in an effort to invoke Crypts of Despair’s apocalyptic character, giving otherwise boilerplate tracks “Obliteration of the Impure” and “Seizures” much-needed flavor. Many such elements are similar on the surface to what Crypts of Despair implemented in the past, but are applied a bit differently now. That’s not a bad thing, as it showcases Crypts of Despair’s willingness to experiment with their sound and grow accustomed to unexplored sonic territory.

The unfortunate piece of that journey here is the total lack of songwriting that came along for the ride. Even decent tracks like “Seizures” struggle to impress upon the listener a sense of story, character development, or substance. Opener “We Belong in the Grave” constitutes a dire misfire, feeling every bit as fluffy and forgettable as your average throwaway instrumental intro, and yet it is a fully equipped “song.” The problem is that it lacks any sort of distinguishing characteristics or movement to earn it the moniker. The same critique can be extended to the closing duo “Gaze of the Adversary” and “Burial of the World.” Neither exhibits any evidence of a fully fleshed-out idea, instead spinning their wheels deeper and deeper into the mucky byproduct of wasted time. The production reflects this lack of depth as well, imposingly loud and deeply polished with flat, modern tones that feel at odds with Crypts of Despair’s mission statement up to this point.

One thing that remains untouched: Crypts of Despair are as livid as ever at humanity writ large. And they are right to be, for any number of reasons! That said, nothing much else remains intact after this updated set of sonic, visual, and engineering aesthetics bulldozed what was once a powerful, distinct, and compelling identity. We Belong in the Grave represents a band trying something different and making a real effort to make an unfamiliar style work in their image. It also represents a band failing to back that new sound up with the same elevated songwriting that made All Light Swallowed a triumph. For those who enjoy the chugging breakdowns and mid-paced monotony of cookie-cutter deathcore, this might be a step up from what populates that rotation. Otherwise, if you are familiar with Crypts of Despair, prepare to despair. This adjustment is going to hurt.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: cryptsofdespair.bandcamp.com | facebook.com/cryptsofdespair
Releases Worldwide: April 18th, 2025

#20 #2025 #AngelMaker #Apr25 #CryptsOfDespair #DeathMetal #Deathcore #FitForAnAutopsy #LithuanianMetal #Nightmarer #Review #Reviews #TranscendingObscurityRecords #WeBelongInTheGrave

Crypts of Despair – We Belong in the Grave Review

By Kenstrosity

When Lithuanian death metal outfit Crypts of Despair dropped All Light Swallowed back in 2021, I was impressed with their destructive riffs, dynamic songwriting, and oppressive tone. The record boasted a never-ending assault of killer passages and memorable atmosphere that, in time, only grew in depth. Unsurprisingly, I felt great excitement at the prospect of a new Crypts of Despair when Transcending Obscurity announced third LP We Belong in the Grave late last year. By that same coin, you can imagine my utter disappointment at what arose from this crypt.

What was once easily categorized as a brutal take on the blackened death metal blueprint now lies in ashes. Today, Crypts of Despair plays a thankfully still brutal take on deathcore. So stark is the difference that at first, I was certain I had mixed up my bands when I picked this up. I was shocked to learn I had not. How this happened, I am uncertain, as only their second guitarist changed between 2021 and 2025. Nonetheless, the ripping tremolos and buttery-smooth songwriting of All Light Swallowed are a thing of the past. In its place, chugging ruts, Deathcore Standard Eerie Background Melodies (DSEBM for short), monotonous guttural roars backed by stereotypical scathing rasps, and what sounds to these ears like a total lack of songwriting identity. I could easily pick Crypts of Despair out of a lineup four years ago. Now, I doubt my ability to discern. At least the pools of skronky death and core from which they pull are decent company—I hear notes of early Nightmarer, AngelMaker, and Fit for an Autopsy peppering We Belong in the Grave. Nonetheless, the stylistic whiplash proved a monumental obstacle to my enjoyment of this new record, an obstacle that vexes me even as I write this piece.

First the positives: Crypts of Despair are still well versed in the way of The Riff™. Early standouts “Terminal Dais” and “Expulsion to Purgatory” offer massively headbangable motifs that are guaranteed to crush the strongest of bone into dust. Back-half heroes “Undisillusioned” and “Precipitous” muster a stompy groove the likes of which threaten the structural integrity of any concert floor, certain to incur considerable repair expenses to any venue. Blackened touches and intimidating background atmosphere still exist in an effort to invoke Crypts of Despair’s apocalyptic character, giving otherwise boilerplate tracks “Obliteration of the Impure” and “Seizures” much-needed flavor. Many such elements are similar on the surface to what Crypts of Despair implemented in the past, but are applied a bit differently now. That’s not a bad thing, as it showcases Crypts of Despair’s willingness to experiment with their sound and grow accustomed to unexplored sonic territory.

The unfortunate piece of that journey here is the total lack of songwriting that came along for the ride. Even decent tracks like “Seizures” struggle to impress upon the listener a sense of story, character development, or substance. Opener “We Belong in the Grave” constitutes a dire misfire, feeling every bit as fluffy and forgettable as your average throwaway instrumental intro, and yet it is a fully equipped “song.” The problem is that it lacks any sort of distinguishing characteristics or movement to earn it the moniker. The same critique can be extended to the closing duo “Gaze of the Adversary” and “Burial of the World.” Neither exhibits any evidence of a fully fleshed-out idea, instead spinning their wheels deeper and deeper into the mucky byproduct of wasted time. The production reflects this lack of depth as well, imposingly loud and deeply polished with flat, modern tones that feel at odds with Crypts of Despair’s mission statement up to this point.

One thing that remains untouched: Crypts of Despair are as livid as ever at humanity writ large. And they are right to be, for any number of reasons! That said, nothing much else remains intact after this updated set of sonic, visual, and engineering aesthetics bulldozed what was once a powerful, distinct, and compelling identity. We Belong in the Grave represents a band trying something different and making a real effort to make an unfamiliar style work in their image. It also represents a band failing to back that new sound up with the same elevated songwriting that made All Light Swallowed a triumph. For those who enjoy the chugging breakdowns and mid-paced monotony of cookie-cutter deathcore, this might be a step up from what populates that rotation. Otherwise, if you are familiar with Crypts of Despair, prepare to despair. This adjustment is going to hurt.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: cryptsofdespair.bandcamp.com | facebook.com/cryptsofdespair
Releases Worldwide: April 18th, 2025

#20 #2025 #AngelMaker #Apr25 #CryptsOfDespair #DeathMetal #Deathcore #FitForAnAutopsy #LithuanianMetal #Nightmarer #Review #Reviews #TranscendingObscurityRecords #WeBelongInTheGrave

Crypts of Despair – We Belong in the Grave Review

By Kenstrosity

When Lithuanian death metal outfit Crypts of Despair dropped All Light Swallowed back in 2021, I was impressed with their destructive riffs, dynamic songwriting, and oppressive tone. The record boasted a never-ending assault of killer passages and memorable atmosphere that, in time, only grew in depth. Unsurprisingly, I felt great excitement at the prospect of a new Crypts of Despair when Transcending Obscurity announced third LP We Belong in the Grave late last year. By that same coin, you can imagine my utter disappointment at what arose from this crypt.

What was once easily categorized as a brutal take on the blackened death metal blueprint now lies in ashes. Today, Crypts of Despair plays a thankfully still brutal take on deathcore. So stark is the difference that at first, I was certain I had mixed up my bands when I picked this up. I was shocked to learn I had not. How this happened, I am uncertain, as only their second guitarist changed between 2021 and 2025. Nonetheless, the ripping tremolos and buttery-smooth songwriting of All Light Swallowed are a thing of the past. In its place, chugging ruts, Deathcore Standard Eerie Background Melodies (DSEBM for short), monotonous guttural roars backed by stereotypical scathing rasps, and what sounds to these ears like a total lack of songwriting identity. I could easily pick Crypts of Despair out of a lineup four years ago. Now, I doubt my ability to discern. At least the pools of skronky death and core from which they pull are decent company—I hear notes of early Nightmarer, AngelMaker, and Fit for an Autopsy peppering We Belong in the Grave. Nonetheless, the stylistic whiplash proved a monumental obstacle to my enjoyment of this new record, an obstacle that vexes me even as I write this piece.

First the positives: Crypts of Despair are still well versed in the way of The Riff™. Early standouts “Terminal Dais” and “Expulsion to Purgatory” offer massively headbangable motifs that are guaranteed to crush the strongest of bone into dust. Back-half heroes “Undisillusioned” and “Precipitous” muster a stompy groove the likes of which threaten the structural integrity of any concert floor, certain to incur considerable repair expenses to any venue. Blackened touches and intimidating background atmosphere still exist in an effort to invoke Crypts of Despair’s apocalyptic character, giving otherwise boilerplate tracks “Obliteration of the Impure” and “Seizures” much-needed flavor. Many such elements are similar on the surface to what Crypts of Despair implemented in the past, but are applied a bit differently now. That’s not a bad thing, as it showcases Crypts of Despair’s willingness to experiment with their sound and grow accustomed to unexplored sonic territory.

The unfortunate piece of that journey here is the total lack of songwriting that came along for the ride. Even decent tracks like “Seizures” struggle to impress upon the listener a sense of story, character development, or substance. Opener “We Belong in the Grave” constitutes a dire misfire, feeling every bit as fluffy and forgettable as your average throwaway instrumental intro, and yet it is a fully equipped “song.” The problem is that it lacks any sort of distinguishing characteristics or movement to earn it the moniker. The same critique can be extended to the closing duo “Gaze of the Adversary” and “Burial of the World.” Neither exhibits any evidence of a fully fleshed-out idea, instead spinning their wheels deeper and deeper into the mucky byproduct of wasted time. The production reflects this lack of depth as well, imposingly loud and deeply polished with flat, modern tones that feel at odds with Crypts of Despair’s mission statement up to this point.

One thing that remains untouched: Crypts of Despair are as livid as ever at humanity writ large. And they are right to be, for any number of reasons! That said, nothing much else remains intact after this updated set of sonic, visual, and engineering aesthetics bulldozed what was once a powerful, distinct, and compelling identity. We Belong in the Grave represents a band trying something different and making a real effort to make an unfamiliar style work in their image. It also represents a band failing to back that new sound up with the same elevated songwriting that made All Light Swallowed a triumph. For those who enjoy the chugging breakdowns and mid-paced monotony of cookie-cutter deathcore, this might be a step up from what populates that rotation. Otherwise, if you are familiar with Crypts of Despair, prepare to despair. This adjustment is going to hurt.

Rating: Disappointing
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: cryptsofdespair.bandcamp.com | facebook.com/cryptsofdespair
Releases Worldwide: April 18th, 2025

#20 #2025 #AngelMaker #Apr25 #CryptsOfDespair #DeathMetal #Deathcore #FitForAnAutopsy #LithuanianMetal #Nightmarer #Review #Reviews #TranscendingObscurityRecords #WeBelongInTheGrave

Epica – Aspiral Review

By Kenstrosity

Since their founding in 2002, Epica garnered my everlasting adoration as my absolute favorite symphonic metal band, followed by other household names like Nightwish and After Forever. However, unlike the overwhelming majority of their ilk, Epica’s music bares sharper teeth, maintains a stronger connection to the greater pantheon of metal and its more extreme fringes, and remains to this day the most consistent in quality album to album. Few symphonic bands celebrating over 20 years of uninterrupted activity exhibit these characteristics. Consequently, my anticipation for Aspiral soars in my trust that Epica could never let me down, grounded by a great anxiety that one day, they just might.

The sigh of relief I let out after my first spin of Aspiral could be heard around the world. Brimming with drama, loaded with hooks, and laser-focused on delivering passionate, energetic songs, Epica’s ninth opus sees every member of this remarkably stable1 Dutch sextet operating in rare form. Running for bang-on one hour, Aspiral follows the classic Epica blueprint: epic, opulent symphonic metal informed by prog and power, and grazed across the cheek by death’s bony phalanges. However, new accoutrements and novel structures showcase a group exploring the boundaries of their sound with a gentle growth indicative of a collective eager to play and learn. While this never leaves any of these 11 songs unrecognizable as an Epica piece by any means, these admittedly light risks allow Aspiral to shine as a late career highlight.

Aspiral, first and foremost, is a triumph of performance in music. As the world already knows, lead siren Simone Simons is a powerhouse, her voice only getting better with time (“Obsidian Heart,” “Apparition,” “The Grand Saga of Existence—A New Age Dawns Part IX”). However, a delightful surprise, Mark Jansen’s immediately recognizable growl and scream rips across the record with a palpable presence and rabid tone (“Metanoia—A New Age Dawns Part XIII,” “Eye of the Storm,” “The Grand Saga of Existence”). Ariën van Weesenbeek’s incredible drumming steals the show all over the place, too, whether in the service of creating additional interest inside breakdowns and riffs (“Arcana”); by driving transitions smoothly between faster freakouts and slower spells (“T.I.M.E.,” “Apparition”); or when manifesting a groovy beat that all but guarantees remembrance (“Obsidian Heart,” “Fight to Survive—The Overview Effect,” “Apparition”). Thankfully, Mark Jansen’s and Isaac Delahaye’s axework keeps up, injecting oodles of fun leads and riffs (“Cross the Divide,” “Darkness Dies in Light—A New Age Dawns Part VII”) and quite a number of killer solos (“Apparition,” “Eye of the Storm”). Even Rob van der Loo’s bass guitar gets to shine a bit more, too, though he’s still a bit difficult to spot sometimes—a clear point of improvement for future records. And of course, Coen Janssen’s orchestrations need no introduction, but his gorgeous choirs in particular make a huge impression this time around (“T.I.M.E.”).

Of course, all of those performances would mean nothing without great songs in which to showcase them. Thankfully, Aspiral is loaded with pieces that live rent-free in my head. Hits like “Cross the Divide,” “Arcana,” the VOLA-esque “Obsidian Heart,” “Apparition,” the energetic “Eye of the Storm,” and beautiful penultimate epic “The Grand Saga of Existence” compete viciously for top spot as the album progresses—to the point that I always feel I’m giving the wrong answer when I call any one of them my favorite. Moreover, despite Aspiral’s adventurous and exuberant spirit, the whole feels cohesive, well-conceived, and smartly arranged. Even instrumental moments that threaten to derail my attention, like the initially questionable breakdowns in “Arcana” and “Fight to Survive,” get scooped right up by Mark’s and Isaac’s clever leads, Ariën’s kit wizardry, and Coen’s uplifting orchestrations. This, in turn, creates a dynamic experience that evokes a range of actions and reactions, logical progressions of story, and thoughtful decorations which make repeat spins valuable to invested listeners.

There’s so much more I can say about Aspiral, but as I continue to overwrite, I want to leave with a couple of notes. Firstly, while it occupies an ideal placement in the tracklist, delicate closer “Aspiral” might be the one song that meanders too long, creating a spot of bloat at the tail end. Secondly, I was hoping to hear more of the extremity that Epica unexpectedly unleashed on “Human Devastation” from their The Alchemy Project EP. I recognize that it was a one-off collaboration, but I do hear little hints of its beastly spirit in places here, and I crave more of it now that I know that Epica are willing to engage with it. Finally, Aspiral, flaws and all, made it impossible for me to go back to previous records as a point of comparison, because its pull is just too strong. Every impulse to pick up something else instead resulted in withdrawals, followed by yet another ravenous draught of Aspiral.2 If that’s not the making of a Great record, I don’t know what is.

Rating: Great!
DR: N/A | Format Reviewed: Stream [Stop This!]
Label: Nuclear Blast
Websites: epica.nl | facebook.com/epica
Releases Worldwide: April 11th, 2025

Show 2 footnotes

1. They’ve kept the same lineup since 2012! ↩
2. And this promo was a shitty stream! ↩

#2025 #40 #AfterForever #Apr25 #Aspiral #DutchMetal #Epica #Nightwish #NuclearBlast #PowerMetal #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SymphonicMetal #VOLA

Messa – The Spin Review

By Carcharodon

We all slow down in our old age. Our own Steel Druhm is no exception. As he closes in on his third millennium, he finds himself overwhelmed more and more often.1 And so verily it came to pass that, to help out our tiring patriarch, Dolph and I agreed to double team his beloved Italian psych-doom weirdos, Messa.2 To be fair, this is no hardship. All three of Messa’s albums to date have been absolutely killer, from the drone-doom of debut Belfry (2016), through personal fav, the post-bluesy Feast for Water (2018) to progressive opus Close (2022). To say the band is enigmatic would be something of an understatement. The quartet, which has held together without any line-up changes for over a decade, seamlessly knit together a dizzying array of styles, modulating the focus on each release. Where will the dial land on fourth outing, The Spin?

If you’re looking to place The Spin in Messa’s discography, it’s probably closest in tone to Feast for Water. However, it’s a smoother experience. Rather like using a velvetiser to make your hot chocolate. It’s still hot chocolate. But it’s thicker, richer, and, well, velvet-ier. The Spin has been velvetised in two key ways. First, Sara’s smouldering, siren-like vocals have hit a whole new level, with the power on her sustains (“Fire on the Roof” and “Void Meridian,” in particular) imbuing The Spin with such a sense of power. Secondly, guitarist Alberto has leant harder into the progressive doom of Vanishing Kids, paired with the languid blues of his solo debut (Little Albert’s Swamp King), all buried in a guitar tone that Pink Floyd would be delighted by (“Reveal” and the gorgeous back end of “Immolation”). Where Feast had a slightly roughened, old-school Trouble or Pentagram edge to its haunting, crooning vibe, Messa are now operating in bigger, more expansive—and, frankly, more expensive-sounding—territories, recalling the likes of recent Green Lung (“At Races”) and Beth Hart (“Fire on the Roof” and “Immolation”).

And yet, Messa are still unmistakably Messa. From the yawing electronica that opens The Spin on “Void Meridian,” through The Gathering-meets-psychedelic-lounge-jazz of “The Dress” to the oppressive, brooding heaviness of closer “Thicker Blood,” the constantly shifting sonic palette draws on soundscapes that are familiar from each record in the band’s back catalogue. At the same time, The Spin is more anthemic than previous albums, with almost-nailed-on song o’ the year “Fire on the Roof” leading the way, its huge, trad doom chorus a thing of beauty, while the smoky, mesmerising verses find Sara almost chanting. In fact, “Fire…” is the start of a three-track run that, for me, is pretty well the best material Messa has written, as it leads into the fragile keys and bluesy, cathartic build of “Immolation” before “The Dress” hits. It is this that sets The Spin slightly apart from previous Messa albums, which have an organic flow to them, where this latest offering feels slightly more like a collection of songs.

While The Spin does feel less like a single, flowing composition than previous Messa records, it doesn’t lack cohesion, and the massive, standout highs offer plenty of compensation for that slight loss in flow. This may be explained by the fact that, unlike Close, the band chose to record this album separately, across several locations and periods, with (apparently) a lot of rearrangement of the material to get to the finished record. Messa also focused on simplifying and stripping back the song structures, which makes them more digestible. Although there are no weak songs on The Spin, opener “Void Meridian” lacks bite and never quite hits its stride, while penultimate cut “Reveal” feels like it belongs on an earlier Messa album, particularly in its chugging middle passage. I touched above on the beautiful guitar tone that Alberto and Mark Sade have found, so thick and meaty you can practically bite into it. Apparently, the band focused on using as much original 80s equipment as possible, which could have something to do with it.

At this point, it’s becoming apparent that Messa basically can’t miss. Whatever they turn their hand to, they manage to retain their identity, while writing diverse, interesting and, most importantly, absolutely banging albums. The Spin is no exception, from the bright, propulsive energy of “At Races” to the stark beauty of “Immolation,” Messa have done it again. At a tight 43 minutes, this album races by and, when it finishes, the only reason I don’t simply start it again is that I usually want to listen to “Fire on the Roof” a couple of times first. Less challenging and more immediate than previous records, but no less beautiful for it, The Spin perhaps shows the influence of bigger label Metal Blade on the band. I hope it earns them some deserved dollar bills.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: messa.bandcamp.com | facebook.com/MESSAproject
Releases Worldwide: April 11th, 2025

Dolphin Whisperer

My brother-in-law loves metal, and I don’t think he’d be offended if I were also to say that he’s not particularly invested in finding new metal to listen to in the modern scene. However, on one ride in the car, I had Messa’s 2022 opus Close on at a moderate volume, prompting him to investigate what exactly was enchanting his ears. After that outing, he and my sister returned to their home, another five-plus hour drive, and she sent me a text saying that they binged Messa’s discog a couple times on the way back; he was in love. You see, despite the quirks that give Messa their mystical air, the crafty Italians possess the secret to all great rock music: volume-scaling power, a unique and soaring vocal presence, and big, fat hooks. The Spin, of course, is no exception.

In that regard, Messa follows their own lineage by never delivering the same album twice. The journey from post/drone atmospherics of Belfry to the heavier occult/doom worn Feast for Water to the MENA jazz-loaded snake charming Close, each entry in their catalog serves as an ode to their inherent tendency to experiment while holding true to a base of doom weight and rock attitude. Vocalist Sara Bianchin has transformed alongside Messa’s journey too, with her earliest performances reflecting the youth of her experience in rawer mic reflections. But The Spin leans on sounds from the ’80s, and, in turn, Bianchin’s now studied attack runs recklessly through swirling and swelling layers of echo and shrill serenade. Elsewhere, chorus pedal abuse, gothy reverb, and low-end synth propulsions mark The Spin’s throwback dance in the Messa stride—Disintegration-echoing bass leads (“Void Meridian,” “At Races”) crashing against Tears for Fears brooding throbs (“The Dress,” “Thicker Blood”) running through call-and-response guitar lead explosions (every. song.). It’s easy to fall prey to the sense of nostalgia that such sounds stimulate.

However, in a sense of reverence for the past, not just a wistful longing, The Spin weaves its own home in familiar textures. Messa finds a comfort in dreamy textures indebted to foundational post-punk works—those of The Sound or Joy Division—while still injecting a metallic edge of heavyweight chord drives and aggressive rhythms (“Fire on the Roof,” “Thicker Blood”). Doom anchors the drama, as always, in slow builds and syllable stretches that crawl and lurch against Messa’s chosen palette of Roland-modulated simmers and proto-shoegaze dissonance (“Void Meridian,” “The Dress”). And, of course, Messa lives life in the fast lane switching and melding identities on a dime, with late album cut “Reveal” pairing a heavy blues twang, frantic bursts of blast beats, and Bianchin’s wailing narrative for an anachronistic detour that both upends and upholds The Spin’s playful historical lens.

As Messa’s shortest album to date, The Spin’s seven cuts go down smooth but lacking in the kind of wholeness that other works have held. On one hand, it’s easy to work in The Spin to whatever length of time allows—a quick hit or two of your favorites as you dress for the day ahead, a longer commute as the sun moves from straight in the eyes to waving from the side, a jog around the neighborhood with canine companions. Movement, or rather transience, sits at the core of Messa’s themes here after all: the chase for meaning in a strained world (“Void Meridian”), the weight of choice that can’t decide a push or pull (“Immolation”), and accepting what lurks around the corner (“Thicker Blood”). And so The Spin demands more as an encapsulation of wandering, but it’s a human quest that’s easy to indulge as you see fit.

Neither a slow-burn nor a peel out, The Spin saunters at a breathing, bustling pace that manages to hustle ahead of a growing movement gazey and hazey doom wielders. I, too find solace in genre cousins like the jazzy and equally textured Moths or the pleading missions of Slumbering Sun, but Messa continues to find ways to wield weaponized guitar heroism, fat-bottomed tones, and sultry synthesis in a way that feels true to their growing discography while reaching to new fans and new sounds. Music this powerful stands ready to inspire binge listening, tone envy, and, with any luck, another generation hopelessly addicted to six strings screaming at unadvisable volumes.

Rating: 4.0/5.0

#2025 #40 #Apr25 #BethHart #Blues #DoomJazz #DoomMetal #Eagles #GothicRock #GreenLung #HeavyMetal #ItalianMetal #JoyDivision #LittleAlbert #Messa #MetalBladeRecords #Pentagram #PinkFloyd #postPunk #PsychedelicRock #Review #Reviews #TearsForFears #TheCure #TheGathering #TheSound #TheSpin #Trouble #VanishingKids

Blood Abscission – II Review

By Thus Spoke

We tend to underestimate how great a role knowledge of the artist plays when experiencing their art. Even if unfamiliar with their work, the awareness of them as a person (or group of people) whose intentions are either plain or discoverable through interviews, notes, or academic consensus informs our opinions insidiously but inevitably. In an age when self-promotion is easier than ever thanks to the internet, a musician choosing to remain anonymous speaks to a desire to center their music in as absolute a way as possible. Who comprises Blood Abscission, and how many of them are there? That may never be known.1 All that exists is their art. This too eschews identity beyond numbers: sophomore II following in inevitability debut I, and all tracks bearing only the numerals of their album position. We must listen to II exactly as it is, with only Blood Abscission’s solemn proclamation as potential guide: “United in pain, we step into the abyss – not as mere individuals, but as a collective force seeking meaning within the chaos, finding a voice in the silence between the stars.”

Though I discovered it in retrospect—the debut having been dropped via self-release with zero fanfare—II continues exactly as I began. Blistering, raw-adjacent atmospheric black metal, relentless beyond the occasional lapses into dreamy gaziness where the keyboards shine and feedback hums (“III,” “IV”), not unlike a synth-obsessed Alcest. Its intensity, the desperate, unintelligible screams of the vocalist, and the grand melodic themes see-sawing between melancholy beauty and eerie dissonance bring to mind Aara on one face (“I,” “V”), Decoherence the other (“II”). II feels like an exercise in pure catharsis, the repeated climaxes of ever-fiercer roars and ascending tremolos communicating only unfiltered emotion, and the contrastive stillness a cleansing indifference. With no identifiable words, and even the muffled samples dampened beyond comprehension, II’s features are solely confined to this ebb and flow, amplifying once more the facelessness and pure aesthetic centrality that Blood Abscission impose by not naming it, or themself. It is a musical black hole, both in atmosphere and sparseness of properties, and is appropriately powerful.

Unlike an actual black hole, II is something we can escape from, though Blood Abscission do a good job of holding you in place. At its most ardent peaks, when beauty pitches fearsomely into urgency, it is hard to ignore, let alone switch off (“II,” “V”). The moves from one state of being to another are smooth, regardless of their speed—whether neo-second-wave and assured to a vulnerable undulation between sorrowfulness and heartenedness (“I”), or gentle contentment to grieving resolution (“III”). “IV”‘s emanation out of the chiming whine of “III,” and procession into the torrent that opens “V,” is not just an obvious example of this compositional fluidity, but itself proves to be a thoroughly absorbing interlude that belies its length. II repeatedly invites introspection, and does so through its rawness that reaches beyond the way the vocals and instruments are mastered, a corollary of the necessary focus on the sweep of its melodies, interplay between airy keys and darker riffing, and the tides dictated by pleasingly crisp percussion. The echoing croon of an escaped tremolo, the escalation of a minor refrain into devastation, and the torture of a conclusive shriek—with the closing act of “V” standing as the album’s crowning glory in this regard—are notably affecting.

Yet II’s consistency in perdurance is a double-edged sword. While full immersion grants the listener an undoubtedly intense and emotional experience, less conscious enjoyment threatens to leave them a little cold, outside of standout apexes at least. Perhaps this is always a danger with atmo-black, particularly of this more unrestrained and unstructured variety. I can testify that after spending some time with it, its magnitude seems greater than it did initially, thanks to deeper appreciation of its nuances, but even the influence of II’s potency doesn’t eliminate flaws entirely. II could stand to be a shade shorter, to give every moment more impact; something not needed so much by its peaks, but from which some of its lingering passages would gain better standing as transitions of beneficial steadiness between outbursts.

With so much atmospheric and raw black metal out there that might as well be anonymous for all its uniformity and ironic placidity, Blood Abscission stand out not only with real anonymity, but music that speaks for itself. In form resisting memorability, in actuality quite impactful and resilient, II shows what the genre is capable of. Even if it lacks the concrete immediacy to solidify it into long-standing greatness, its noise is not meaningless, and its meaning is not lost, however imprecise it might seem.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Debemur Morti
Website: Bandcamp
Releases Worldwide: April 11th, 2025

Show 1 footnote

1. And as is stated quite forcefully in the promo material, “Blood Abscission is NOT available for interviews.” ↩

#2025 #30 #Aara #Alcest #AmbientBlackMetal #Apr25 #AtmosphericBlackMetal #BlackMetal #BloodAbscission #DebemurMortiProductions #Decoherence #II #RawBlackMetal #Review #Reviews

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

Allegaeon – The Ossuary Lens Review

By Maddog

Allegaeon’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut Fragments of Form and Function broke the score counter, Allegaeon sank as low as a 2.0 for 2016’s Proponent for Sentience in the eyes of then-tadpole GardensTale. While their latest outing recovered to a more respectable score, Allegaeon’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. The Ossuary Lens showcases a leaner, meaner Allegaeon. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.

Allegaeon have trimmed their bloat but not their ambitions. For the uninitiated, Allegaeon’s brand of death metal resembles a noodlier Arsis, with its melodicism matched only by its technicality. That said, Allegaeonites will recall that these Coloradans would rather cover Yes or Rush than classic death metal. Allegaeon’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as Allegaeon gallops from punchy riffs to melodic leads to clean jams and back again. However, The Ossuary Lens displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. Allegaeon’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. The Ossuary Lens preserves its identity without getting lost in its own reflection.

Accordingly, The Ossuary Lens hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving Elements of the Infinite’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, Allegaeon’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a First Fragment stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, The Ossuary Lens hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to Revocation worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. The Ossuary Lens’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, The Ossuary Lens presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.

While each piece of The Ossuary Lens is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, Allegaeon continues to brickwall their albums into tepid gruel. As a result, The Ossuary Lens often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls Venom Prison. With highs this high, it’s a shame that The Ossuary Lens often slips into uniformity.

Allegaeon is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive Fragments of Form and Function. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 music video for “1.618” sealed Allegaeon’s place in my heart forever. Measured against Allegaeon’s first three albums, The Ossuary Lens falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: allegaeon.bandcamp.com | facebook.com/Allegaeon
Releases Worldwide: April 4th, 2025

Iceberg

Allegaeon are something of a known quantity around here, having been nodded at by Steel, eviscerated by GardensTale, and patched up by Cherd. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s Proponent for Sentience, one of the first reviews I read on this site, but got lost amidst the dense material of Apoptosis and frankly didn’t even give Damnum a shot. Allegaeon’s latest LP, The Ossuary Lens, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an Allegaeon release, can The Ossuary Lens be the record to change that?

Allegaeon’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. Allegaeon have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of Elements of the Infinite fame, comes roaring back to life on The Ossuary Lens, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on The Ossuary Lens are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.

Allegaeon albums tend to have similar issues holding them back, and the band have largely addressed them on The Ossuary Lens. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in The Ossuary Lens; Allegaeon have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best Insomnium track released this year, Allegaeon’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.

The hits don’t stop there. The Ossuary Lens takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in Proponent for Sentience, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a Rodrigo y Gabriela record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous Allegaeon records were dense, academic affairs that required shoveling through noise and notes to discern, The Ossuary Lens presents a barebones masterclass on Allegaeon’s modus operandi.

This isn’t to say that The Ossuary Lens is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, The Ossuary Lens represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If Allegaeon continue on this trajectory, we may see their best work yet just over the horizon.

Rating: 3.5/5.0

#2025 #30 #35 #Allegaeon #AmericanMetal #Apr25 #Arsis #DeathMetal #FirstFragment #Insomnium #Melodeath #MelodicDeathMetal #MetalBlade #MetalBladeRecords #ProgressiveDeath #ProgressiveDeathMetal #ProgressiveTechnicalDeathMetal #Review #Reviews #Revocation #RodrigoYGabriela #Rush #TechnicalDeathMetal #TheOssuaryLens #VenomPrison #Yes

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Buried Realm – The Dormant Darkness Review

By Owlswald

Colorado’s Buried Realm, the technical melodic death metal project of multi-instrumentalist and vocalist Josh Dummer, has built a steady following since 2017’s The Ichor Carcinoma. This is largely because— alongside his role as the primary writer and producer of Buried Realm’s music— Dummer is one hell of a guitarist. Additionally, he enlists a prominent cast of guest musicians for each album, adding another layer of proficiency to his progressive soundscape.1 While Dummer’s talent and networking ability are compelling, 2020’s Embodiment of the Divine received a mixed reception from AMG’s own Twelve. Since then, Dummer has made notable upgrades through the addition of drummer Heikki Saari (Fintroll, ex-Norther) and the outsourcing of post-production duties, resulting in a heavier and more polished sound on Buried Realm’s 2022 self-titled third album. With these refined elements and the promise of further evolution, I was eager to delve into The Dormant Darkness to see what I would find lurking in the shadows.

What I found was a great album. Building upon the foundation of Buried Realm, The Dormant Darkness finds Dummer taking the next step in his power-tinged melodeath assault. The opening barrage of “Bloodline Artifice,” with its relentless blasts, tremolo onslaught, and visceral screams, channels the power of tech-death giants like Allegaeon. At the same time, the album’s overall melodicism is indicative of The Living Infinite-era Soilwork. Guest appearances include the likes of Per Nilsson (Scar Symmetry) and Christopher Amott (ex-Arch Enemy), who fortify tracks like “Human Code” and “Futuristic Hollow Nation” with sweeps, dives, and wails galore. Saari’s intricate rhythms and colorful accents amplify Buried Realm’s dazzling riff craft. Additionally, Dummer’s Laiho-esque rasps intertwine with Bjorn “Speed” Strid’s (Soilwork) roars and Christian Älvestam’s (ex-Scar Symmetry) soaring choruses to add sophistication and depth. With a well-rounded mix that delivers plenty of punch and low-end heft, The Dormant Darkness features a concentrated and layered sound that is rich, heavy, technical, and a ton of fun.

For those who crave virtuosity, Buried Realm will not disappoint. Guitar wizardry is delivered in droves, with memorable solos, melodic leads, and powerful shredding across the record’s eight tracks. Nilsson’s dynamic fretwork at the heart of “Human Code,” Amott’s dive-bomb acrobatics within “Futuristic Hollow Nation,” and Daniel Freyberg’s (ex-Children of Bodom) blazing solo on “A Futile Endeavor” stand out as particularly jaw-dropping moments.2 Dummer and Saari’s merciless grooves— shredding and hammering with precision— strengthen the album’s star-studded guest list, constructing Buried Realm’s tech-heavy compositions. Contrasting Buried Realm’s unyielding virtuosity are Älvestam’s uplifting serenades on songs like “Jaws of the Abyss” and “Futuristic Hollow Nation” which present striking melodies and refreshing hooks that draw me back again and again. Ultimately, while the constellation of guest musicians warrant attention, The Dormant Darkness is filled with highlights that will appeal to a wide audience.

With its intensity and compositional depth, The Dormant Darkness could have easily become overwhelming. Indeed, the songwriting periodically suffers from overly dense passages and abrupt transitions. The disjointed vocal exchange between Dummer and Strid before the chorus in “Human Code,” for example, is jarring, as is the song’s mid-section where a whirlwind of blasts and leads stutters and starts erratically. That said, while occasional missteps somewhat detract from the album’s pacing and flow, they are minor quibbles in a record rife with strong songwriting. Furthermore, Francesco Ferrini’s (Fleshgod Apocalypse) poignant orchestral arrangements on tracks like “Ophidian Dreams” and “Where the Armless Phantoms Glide, Pt. II” provide atmospheric grandeur and emotional depth, mitigating aural fatigue and upholding sonic balance.

Overall, The Dormant Darkness is a blast. The album is the culmination of Buried Realm’s evolution and proves that Dummer’s persistence and dedication have paid off handsomely. It’s full of highlights and genuinely impressive moments, blending technical prowess with memorable melodic hooks, exceptional guest contributions, and compositional maturity. Despite the occasional minor slipup, the album’s technical and charming melodeath personality seizes my attention from the start and maintains its spectral grasp until the record’s final notes fade into the ether. With The Dormant Darkness, Buried Realm has established itself as a formidable force— one that melodeath fans won’t want to miss.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: buriedrealm.bandcamp.com | facebook.com/buriedrealm
Releases Worldwide: April 4th, 2025

#2025 #40 #Allegaeon #AmericanMetal #Apr25 #ArchEnemy #BuriedRealm #ChildrenOfBodom #DeathMetal #FleshgodApocalypse #MelodicDeathMetal #PowerMetal #ProgressiveDeath #ProgressiveMetal #Review #Reviews #ScarSymmetry #SelfReleased #Soilwork #SpaceMetal #SymphonicMetal #TechnicalDeathMetal #TheDormantDarkness

Spezialangebot des Filmmuseums Wien im Rahmen der #atpb24: 3 x Lectures für SchülerInnen der Sek II:
https://humanrights.at/aktionstage/tag/filmmuseum/ #kino #film #filmmuseum #wien #apr25 #apr26 #apr29 #Schule