#atthegates — Public Fediverse posts

Hails from the #Metal capital of #Sweden, the one and only #Gothenburg! 🖤🇸🇪

This is holy ground… 🤘🏻

#amaranthe #atthegates #avatar #darktranquillity #engel #evergrey #hammerfall #inflames #thehaloeffect

April breezes are blowing across the AMG estates even though the summer heat reigns supreme. With several big-ticket releases and a collection of killer platters from lesser-known acts clogging the April voting sheets, it was a pretty fat month for extreme music. This caused consternation among staffers as loyalties to iconic bands clashed and lengthy histories of excellence were rehashed, compared, and contrasted. In the end, hard decisions were made, office furniture was hurled, and curses were invoked. This is the AMG way. Welcome back to April!

If one band exemplifies death metal majesty, decay, and consistency over 30-plus years, it’s New York’s own Immolation. Since launching their crusade of brutality way back in 1989, the band have become one of the most influential acts in the genre, with a sound that evolves and mutates but is always recognizably Immolation. April brought us the 12th installment in their legacy of ugliness, and Descent [out April 10th from Nuclear Blast (Bandcamp)] is another statement on what death metal should be. Wickedly heavy, technical as hell, and ugly as fook, it’s the kind of album that feels like a tanker full of anvils. It highlights the inventiveness of Immolation even as it revisits past eras of the band’s enormous catalog. As a well-impressed Steel Druhm pointed out, “Immolation remain a rare, altered beast among other repellent horrors, painting their uniquely disturbing soundscapes across history and time.” An equally gobsmacked Kenstrosity added, “This twelfth album, soon upon us, perpetuates that standard and may even prove, with time, to have elevated it once again.” Strong words for the Grand Titans of Death. All hail Immolation.

Runner(s) Up:

At the Gates // The Ghost of a Future Dead [April 24th, 2026 | Century Media | Bandcamp] — It’s very difficult to review an album that you know will be the last for a metal luminary. It’s the end of a life, an era, and a musical companion you’ve traveled with for years, even decades. Such was the dilemma facing Grymm when The Ghost of a Future Dead was released in the aftermath of the tragic passing of legendary vocalist Tomas Lindberg. At the Gates have had plenty of genre-defining moments over their career, and fortunately, what Tomas left us with here can stand proudly among their very best. It’s a vicious, face-melting slab of thrashy melodeath with hooks and fangs aplenty, showcasing the classic At the Gates sound and the caustic, corrosive vocals of a brave and ever-defiant Tomas. As Grymm astutely summarized, ” If this ends up being At The Gates’ swansong, this is a hell of a way to go out, as they dropped another classic on our sorry asses. Awesome job to all those involved. Rest in power, Tompa.” Journey on, metal brother.

Green Carnation // A Dark Poem Part II: Sanguis [April 3rd, 2026 | Season of Mist | Bandcamp] — Successor act of Norway’s In the Woods..., Green Carnation traveled a strange musical path since 2000, passing through death and Gothic metal to eventually arrive at a kind of progressive metal-lite. A Dark Poem Part II: Sanguis finds them continuing their Poem trilogy, offering hard-edged moments alongside plenty of sad, sullen set pieces sure to bring the feelz to the coldest of hearts. Musically, Sanguis explores some older Green Carnation sounds while also pushing their style forward into new spaces, always with quality songcraft at the forefront. There are some genuinely tear-jerking moments here if you like to feel unhappy. As the usually jaded, cynical, and cranky-assed Doc Grier gushed, “For those who need something in these trying times to bolster their spirits or tear them apart (if only for a moment to reset), Sanguis is here for you.” Flower power!

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.1 Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.2 If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”3 all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

I’ve gone back and forth about how to introduce The Ghost of a Future Dead, the eighth full-length by legendary Swedish death metal innovators At The Gates, the first with the returning Anders Björler back on lead guitar and songwriting duties (along with his twin brother, bassist Jonas) and also the final album featuring the late, great Tomas “Tompa” Lindberg, who sadly succumbed to a rare-but-super-aggressive bout of cancer in September of 2025. This introductory paragraph (and review) has been typed, deleted, reworded, deleted, approached differently, deleted, etc. so many times that I’ve lost count and given myself a colossal migraine in overthinking, over-evaluating, and over-justifying. But there comes a point where, in my month of listening to this, you have to say “fuck it,” and proceed in the direction that your gut, heart, and ears are guiding you towards. I will simply state that The Ghost of a Future Dead is many things.

What it’s not, however, is a pity party. Like anyone else with a conscience and heart, I was devastated to read about what Lindberg went through over the last few years with his battle against Adenoid Cystic Carcinoma, and was heartbroken when he died after a bravely-fought battle. You wouldn’t know he was struggling upon listening to the album, however, as Lindberg was in fine form here. His delivery has never been this potent, this acidic, with lead-off single “The Fever Mask” demonstrating his caustic delivery just fine. Elsewhere, “Det oerhörda,” the first At The Gates song written entirely in Swedish, further channels Lindberg’s rage and intensity. The fact that he performed all his parts, in one day and mostly in one take on the day before his surgery, before his bandmates even recorded anything is nothing short of impressive, as it doesn’t sound like it at all.

The Ghost of a Future Dead (24-bit HD audio) by At The Gates

Speaking of his bandmates, to say they all brought their A-game would be a grotesque understatement. To be frank, this is the At The Gates album I was craving when they first reunited back in 2010.1 Everyone went all-out, and the results are ridiculous. Both Björler brothers and fellow guitarist Martin Larsson hurl riff after monstrous riff at you, but also know how to construct some damn fine harmonies like on “The Fever Mask” and “A Ritual of Waste.” As for Adrian Erlandsson, his fills and embellishments border on the criminal. I’m sure the rather obscene breakdown section of “The Unfathomable” is considered illegal in most countries, with Erlandsson incorporating a well-placed ride cymbal “TING!” at just the right time2 to send people into a pit-inducing frenzy. In fact, with the exception of moody instrumental “Förgängligheten,” The Ghost is just fire and rage from beginning to glorious end, and all four instrumentalists paid loving, yet visceral, tribute to a fallen bandmate and brother on here.

The Jens Bogren production also elevates The Ghost into the upper echelons of At The Gates’ discography. Both the guitars and the drums radiate a profound heft and clarity. Speaking of clarity, being able to make out Jonas’ basslines is much, much appreciated, as he can play his ass off. Also speaking of Jonas, one thing I noticed was the more progressive leanings that he incorporated on To Drink From the Night Itself and The Nightmare of Being are still present at times, like on “The Dissonant Void,” might be reduced significantly, but they’re present and better incorporated, leading to a better impact overall. For 42 minutes and some change, The Ghost is the sound of everyone firing on all cylinders.

Full admission: everyone behind the scenes at Angry Metal Guy wanted to hear The Ghost of a Future Dead, but nobody wanted to review it. If it sucked,3 no one understandably wanted to say as much. If it were legitimately good, people would say that it’s said out of grief, trying to fit in with established publications, or some other bullshit reason. In this case, since it goes toe-to-toe with their best work (and in some ways surpasses them), it’s all those reasons plus receiving an unnecessary amount of grief from the comments section, crying about the audacity of giving it the score it ultimately received, despite all justification on my part. So I’ll take it on the chin for the team and state that yes, The Ghost of a Future Dead deserves the score due to the quality, ferociousness, and heart on display. If this ends up being At The Gates’ swansong,4 this is a hell of a way to go out, as they dropped another classic on our sorry asses. Awesome job, to all those involved. Rest in power, Tompa.

Rating: 5.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Century Media Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

At The Gates - The Ghost of a Future Dead (24-bit HD audio)

https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio

#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund

Barbarous – Initium Mors Review

By Angry Metal Guy

By: Nameless_n00b_603

Death metal boasts a lush buffet of subgenres. From mind-flaying technicality to chilling dissonance to wanton mirth, there’s something for everyone. Unmoved by how much the genre has evolved, some folks just want the straightforward, grass-fed variety that defined American death metal in the late ‘80s and early ‘90s. And what bloodsport that was—Cannibal Corpse hammer-smashed listeners to paste, Deicide seared anti-religious sentiment into their collective hide, and Morbid Angel infected them with tainted melody. Barbarous slides comfortably into the fray, wielding debut Initium Mors, but does it pack enough punch to survive the melee?1

Inspiration plays an immediate role in Barbarous’s sound. Though they hail from Oakland, California, it’s the Tampa Bay scene that casts the longest shadow. Cannibal Corpse’s influence is undeniable, providing the blueprint for punishing grooves and six-string savagery (“The Tomb Spawn,” “Conscious Decomposition”). Vocalist Travis LaBerge retches and roars somewhere between Deicide’s Glen Benton and Hate Eternal’s Eric Rutan,2 while the music also harkens to early Deicide at times (compare “By Lead or Steel” with “Serpents of the Light”). There are additional influences, too, including Necrot and Skeletal Remains, two bands heavily influenced by Death and Morbid Angel, proving all roads lead to Tampa.3 This isn’t to say that Barbarous doesn’t flex their own brand of muscular death metal. The title track does a fabulous job of baking Slaughter of the Soul-esque melody into the chorus while staying true to the Floridian Sound Machine’s jackhammering boogie.4 I see flashes of a distinct identity in Initium Mors, but more refinement would serve Barbarous to forge their own path out from the shadows of giants.

Throughout Initium Mors, Barbarous pounds and pummels with neck-snapping fury and brawny chugs. Any track would effortlessly slot into a respectable workout playlist, with “By Lead or Steel” and “Tools of the Trade” being my choice cuts. Opener “Injection of the Exhumed” storms out the gates with a phlegm-rattling gut punch buoyed by aggressive riffing and blast beats, followed by a Slayer-laced wail. And that’s just the first twenty seconds. Hostile grooves and pulverizing paces drive the momentum across Initium Mors’s fleeting runtime, never surrendering a moment to catch your breath. Barbarous’s unflinching imperative is to carve listeners to the root, evidenced by the album’s razor-sharp guitar-playing (“Tools of the Trade,” “Conscious Decomposition”) courtesy of Zach Weed and Thomas Belfiore. Solos set fire to tracks when they kick in, whether it’s via soulful swagger (“By Lead or Steel”) or finger-blistering fury (“Coup de Grace”). Either way, they’re unfailingly fun. Travis Zupo’s dynamic drumming bludgeons with teeth-rattling thunder (“Conscious Decomposition”) while LaBerge stays the course with calculated, vomitous barks. The only underseasoned component is Zach Jakes’s bass guitar, which is a commentary on audibility rather than skill. Listening for bass in Initium Mors reminds me of Tantalus—the more I crank the volume to hear what that sweet bottom end is doing, the murkier the wall of sound becomes.5 Considering the meaty through-line that bass provides in many a death metal casserole, elevating its heft would push Barbarous’s recipe to gloriously heinous heights.

Production and mastering are a mixed bag, presenting opportunities and highlights. The album is LOUD, and while that’s generally how I like to listen to death metal, a more spacious mix would have improved the overarching balance. For an album brimming with balls-out belligerence, such an oppressive production creates an exhausting listen despite the twenty-nine-minute runtime. Still, there’s plenty to praise. Guitars and drums are front and center, so it’s easy to appreciate their intricacies and chops. LaBerge’s vocals are also conspicuously comprehensible,6 which is refreshing for extreme gutturals. While I initially noted his gurgles as monotonous, over repeated listens, I’ve come to appreciate LaBerge’s nimble work as he juggles spewing growls and coherence.

Initium Mors is a triumphant debut and should appease death metal aficionados without qualification. Barbarous is loud, ugly, and here to melt your face in just under half an hour. There’s a lot to like on Initium Mors, even if it’s not breaking any molds. If Barbarous can give the mix a bit more room and firmly establish an identity that transcends their influences, their next release could be an absolute banger. For now, Initium Mors is a solid addition to the annals of meat ‘n’ taters death metal, leaving Barbarous to unapologetically smash skulls and shatter eardrums while delivering a veritable smörgåsbord of protein and spuds.7 Bon appétit!

Rating: Good!
DR: 4 | Format Reviewed: 320 kb/s CBR MP3
Label: Creator-Destructor Records
Website: barbarousband.bandcamp.com
Releases Worldwide: August 1st, 2025

#2025 #30 #AmericanDeathMetal #AtTheGates #Aug25 #Barbarous #CannibalCorpse #Death #Deicide #FloridaDeathMetal #HateEternal #InitiumMors #MorbidAngel #Necrot #Review #Reviews #SkeletalRemains #SlaughterOfTheSoul

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Stuck in the Filter: May 2025’s Angry Misses

By Kenstrosity

Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!

Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!

Kenstrosity’s Meanest Meanies

Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]

Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.

Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]

West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.

Thus Spoke’s Shiny Scraps

Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]

DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.

ClarkKent’s Bestial Beats

Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]

While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.

Owlswald’s Feathered Echoes

Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]

After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.

Killjoy’s Dreamy Delights

Asthénie // Iridescence [May 5th, 2025 – Self-Release]

Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.

Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]

Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.

Dolphin Whisperer’s Dusky Deposition

Slumbering Sun // Starmony [May 9th, 2025 – Self Release]

Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.

Tyme’s Tragic Tones

Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]

Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.

#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_

The Black Dahlia Murder – Servitude Review

By Angry Metal Guy

The Black Dahlia Murder lost a giant on May 11th, 2022, with the death of co-founding member Trevor Strnad, who had penned the lyrics and fronted TBDM across its nine-record discography. The question of how you replace someone as well-loved and well-respected as Trevor must have been a matter of some discussion internally. The solution from the veteran melodeath outfit was to keep the job in-house. Rather than bringing in a new face, guitarist and co-founder Brian Eschbach picked up the microphone, while he was replaced by Ryan Knight—who previously slung the six-string from 2009’s Deflorate to 2015’s Abysmal. Even though I appreciated this solution, it was still difficult to press play on 2024’s tenth The Black Dahlia Murder LP, Servitude. It felt strange to know that our affable, bearded, and dad-bodded metal nerd was no longer going to be screaming at me about lycanthropy. I wondered whether I could enjoy a Strnadless TBDM record or if it would change their sound irrevocably.

You know how The Black Dahlia Murder sounds. Giving strong Gothenburgian vibes, Servitude still deals in the bounce of the Björriff (like “Panic Hysteria” or “Asserting Dominion”), but with the post-Ritual light chaos and groove that helped to transform and mature their sound (“Evening Ephemeral,” “Mammoth’s Hand”). The guitars anchor Servitude’s sound, held firm by sick riffs at breakneck speed, accented with unexpected melodies (“Servitude”), stadium solos (“Mammoth’s Hand”), Gorodian gymnastic harmonies on an Obscura vault track (“Transcosmic Blueprint”) and even 29 seconds of Opeth (“An Intermission”). While Ryan Knight and Brandon Ellis give a master class in metal guitars from neoclassical to thrash, the rhythm section of bassist Max Lavelle and drummer Alan Cassidy1 rumble and blast, driving the sound forward with an intensity that stems from Florida rather than Sweden.

Over the flurry of guitar gymnastics and blast beats, Eschbach’s growls and screams pace a familiar path. At first, my brain didn’t want to accept what it was hearing. When listened to actively, however, I recognized the lower screams and throatier gutturals. And then suddenly, Eschbach was just the vocalist; barking lightning (“Panic Hysteric,” “Evening Ephemeral”), working both his slightly condensed upper and lower ranges in the trademark style of which Trevor was master. While familiar, Eschbach’s approach to rhythm feels like a guitarist doing vocals. He works in lockstep with the groove being carried by the band to create staccato punctuations (“Transcosmic Blueprint”) and syncopated swings (“Asserting Dominion”) that make his performance stand out.2 While Trevor was freer with rhythm and expression, Eschbach’s performance is percussive and precise. The weakness in his performance can be found in the guttural vocals, which don’t reach as deeply or hit as hard. But when all is said and done, Eschbach’s performance sounds like The Black Dahlia Murder.

Servitude seems like an album written to succeed or fail based on the execution of a well-established sound. The devil is, therefore, in the details: the songwriting, the riffs, and especially the guitar solos. And in those places, The Black Dahlia Murder isn’t taking risks. The writing isn’t suddenly progressive, “Aftermath” starts in 7, but they revert to 4/4 and never change time signatures again for the rest of the album.3 There is no revitalization of Ritual‘s or Everblack‘s adventurous arrangements. Where the songs surprise is when they sound chaotic, giving Carnosus (who gives TBDM) or euro-tech and straying further from the Björriffs that propelled them to prominence (see “Evening Ephemeral,” “Utopia Black” or “Mammoth’s Hand”). And Knight and Ellis drop killer solos. “Cursed Creator” hits with shred and harmony, “Transcosmic Blueprint” gives jazz fusion, while “Evening Ephemeral” starts Servitude off on the guitar heroics that made Ryan Knight one of my favorite guitarists ever. Oddly, though, there are a couple of duds as well (“Asserting Domination” is bland, while “Servitude” is fine).

The core of The Black Dahlia Murder hasn’t changed, so the core of Servitude was going to be good. At 35 minutes of riffy, guitar-driven melodic death metal, it’s easy to surmise that The Black Dahlia Murder couldn’t fail on Servitude. And yet, there is a risk inherent to releasing a record following the tragic passing of one of the scene’s most beloved personalities. In a way, you could criticize Servitude for playing it too safe. It hits all the notes you expect it to hit with its Industry Standard Mastering Job™. The Brandon Ellis and Mark Lewis production is functionally indistinguishable from previous albums. And there’s a familiar-but-not-quite feel to certain riffs or melodies. Yet, as a whole, Servitude succeeds at both being very good—hitting extra hard on those last three tracks—and feeling like an honorable way to continue the legacy of one of melodic death metal’s premiere acts.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3s
Label: Metal Blade Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 27th, 2024

#2024 #35 #Abysmal #AtTheGates #Carnosus #DeathMetal #Deflorate #Everblack #Gorod #Melodeath #MelodicDeathMetal #MetalBladeRecords #Obscura #Opeth #Review #Reviews #Ritual #RyanKnight #Sep24 #Servitude #Slugdge #TheBlackDahliaMurder #TrevorStrnad

The Black Dahlia Murder – Servitude Review

By Angry Metal Guy

The Black Dahlia Murder lost a giant on May 11th, 2022, with the death of co-founding member Trevor Strnad, who had penned the lyrics and fronted TBDM across its nine-record discography. The question of how you replace someone as well-loved and well-respected as Trevor must have been a matter of some discussion internally. The solution from the veteran melodeath outfit was to keep the job in-house. Rather than bringing in a new face, guitarist and co-founder Brian Eschbach picked up the microphone, while he was replaced by Ryan Knight—who previously slung the six-string from 2009’s Deflorate to 2015’s Abysmal. Even though I appreciated this solution, it was still difficult to press play on 2024’s tenth The Black Dahlia Murder LP, Servitude. It felt strange to know that our affable, bearded, and dad-bodded metal nerd was no longer going to be screaming at me about lycanthropy. I wondered whether I could enjoy a Strnadless TBDM record or if it would change their sound irrevocably.

You know how The Black Dahlia Murder sounds. Giving strong Gothenburgian vibes, Servitude still deals in the bounce of the Björriff (like “Panic Hysteria” or “Asserting Dominion”), but with the post-Ritual light chaos and groove that helped to transform and mature their sound (“Evening Ephemeral,” “Mammoth’s Hand”). The guitars anchor Servitude’s sound, held firm by sick riffs at breakneck speed, accented with unexpected melodies (“Servitude”), stadium solos (“Mammoth’s Hand”), Gorodian gymnastic harmonies on an Obscura vault track (“Transcosmic Blueprint”) and even 29 seconds of Opeth (“An Intermission”). While Ryan Knight and Brandon Ellis give a master class in metal guitars from neoclassical to thrash, the rhythm section of bassist Max Lavelle and drummer Alan Cassidy1 rumble and blast, driving the sound forward with an intensity that stems from Florida rather than Sweden.

Over the flurry of guitar gymnastics and blast beats, Eschbach’s growls and screams pace a familiar path. At first, my brain didn’t want to accept what it was hearing. When listened to actively, however, I recognized the lower screams and throatier gutturals. And then suddenly, Eschbach was just the vocalist; barking lightning (“Panic Hysteric,” “Evening Ephemeral”), working both his slightly condensed upper and lower ranges in the trademark style of which Trevor was master. While familiar, Eschbach’s approach to rhythm feels like a guitarist doing vocals. He works in lockstep with the groove being carried by the band to create staccato punctuations (“Transcosmic Blueprint”) and syncopated swings (“Asserting Dominion”) that make his performance stand out.2 While Trevor was freer with rhythm and expression, Eschbach’s performance is percussive and precise. The weakness in his performance can be found in the guttural vocals, which don’t reach as deeply or hit as hard. But when all is said and done, Eschbach’s performance sounds like The Black Dahlia Murder.

Servitude seems like an album written to succeed or fail based on the execution of a well-established sound. The devil is, therefore, in the details: the songwriting, the riffs, and especially the guitar solos. And in those places, The Black Dahlia Murder isn’t taking risks. The writing isn’t suddenly progressive, “Aftermath” starts in 7, but they revert to 4/4 and never change time signatures again for the rest of the album.3 There is no revitalization of Ritual‘s or Everblack‘s adventurous arrangements. Where the songs surprise is when they sound chaotic, giving Carnosus (who gives TBDM) or euro-tech and straying further from the Björriffs that propelled them to prominence (see “Evening Ephemeral,” “Utopia Black” or “Mammoth’s Hand”). And Knight and Ellis drop killer solos. “Cursed Creator” hits with shred and harmony, “Transcosmic Blueprint” gives jazz fusion, while “Evening Ephemeral” starts Servitude off on the guitar heroics that made Ryan Knight one of my favorite guitarists ever. Oddly, though, there are a couple of duds as well (“Asserting Domination” is bland, while “Servitude” is fine).

The core of The Black Dahlia Murder hasn’t changed, so the core of Servitude was going to be good. At 35 minutes of riffy, guitar-driven melodic death metal, it’s easy to surmise that The Black Dahlia Murder couldn’t fail on Servitude. And yet, there is a risk inherent to releasing a record following the tragic passing of one of the scene’s most beloved personalities. In a way, you could criticize Servitude for playing it too safe. It hits all the notes you expect it to hit with its Industry Standard Mastering Job™. The Brandon Ellis and Mark Lewis production is functionally indistinguishable from previous albums. And there’s a familiar-but-not-quite feel to certain riffs or melodies. Yet, as a whole, Servitude succeeds at both being very good—hitting extra hard on those last three tracks—and feeling like an honorable way to continue the legacy of one of melodic death metal’s premiere acts.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3s
Label: Metal Blade Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 27th, 2024

#2024 #35 #Abysmal #AtTheGates #Carnosus #DeathMetal #Deflorate #Everblack #Gorod #Melodeath #MelodicDeathMetal #MetalBladeRecords #Obscura #Opeth #Review #Reviews #Ritual #RyanKnight #Sep24 #Servitude #Slugdge #TheBlackDahliaMurder #TrevorStrnad

The Black Dahlia Murder – Servitude Review

By Angry Metal Guy

The Black Dahlia Murder lost a giant on May 11th, 2022, with the death of co-founding member Trevor Strnad, who had penned the lyrics and fronted TBDM across its nine-record discography. The question of how you replace someone as well-loved and well-respected as Trevor must have been a matter of some discussion internally. The solution from the veteran melodeath outfit was to keep the job in-house. Rather than bringing in a new face, guitarist and co-founder Brian Eschbach picked up the microphone, while he was replaced by Ryan Knight—who previously slung the six-string from 2009’s Deflorate to 2015’s Abysmal. Even though I appreciated this solution, it was still difficult to press play on 2024’s tenth The Black Dahlia Murder LP, Servitude. It felt strange to know that our affable, bearded, and dad-bodded metal nerd was no longer going to be screaming at me about lycanthropy. I wondered whether I could enjoy a Strnadless TBDM record or if it would change their sound irrevocably.

You know how The Black Dahlia Murder sounds. Giving strong Gothenburgian vibes, Servitude still deals in the bounce of the Björriff (like “Panic Hysteria” or “Asserting Dominion”), but with the post-Ritual light chaos and groove that helped to transform and mature their sound (“Evening Ephemeral,” “Mammoth’s Hand”). The guitars anchor Servitude’s sound, held firm by sick riffs at breakneck speed, accented with unexpected melodies (“Servitude”), stadium solos (“Mammoth’s Hand”), Gorodian gymnastic harmonies on an Obscura vault track (“Transcosmic Blueprint”) and even 29 seconds of Opeth (“An Intermission”). While Ryan Knight and Brandon Ellis give a master class in metal guitars from neoclassical to thrash, the rhythm section of bassist Max Lavelle and drummer Alan Cassidy1 rumble and blast, driving the sound forward with an intensity that stems from Florida rather than Sweden.

Over the flurry of guitar gymnastics and blast beats, Eschbach’s growls and screams pace a familiar path. At first, my brain didn’t want to accept what it was hearing. When listened to actively, however, I recognized the lower screams and throatier gutturals. And then suddenly, Eschbach was just the vocalist; barking lightning (“Panic Hysteric,” “Evening Ephemeral”), working both his slightly condensed upper and lower ranges in the trademark style of which Trevor was master. While familiar, Eschbach’s approach to rhythm feels like a guitarist doing vocals. He works in lockstep with the groove being carried by the band to create staccato punctuations (“Transcosmic Blueprint”) and syncopated swings (“Asserting Dominion”) that make his performance stand out.2 While Trevor was freer with rhythm and expression, Eschbach’s performance is percussive and precise. The weakness in his performance can be found in the guttural vocals, which don’t reach as deeply or hit as hard. But when all is said and done, Eschbach’s performance sounds like The Black Dahlia Murder.

Servitude seems like an album written to succeed or fail based on the execution of a well-established sound. The devil is, therefore, in the details: the songwriting, the riffs, and especially the guitar solos. And in those places, The Black Dahlia Murder isn’t taking risks. The writing isn’t suddenly progressive, “Aftermath” starts in 7, but they revert to 4/4 and never change time signatures again for the rest of the album.3 There is no revitalization of Ritual‘s or Everblack‘s adventurous arrangements. Where the songs surprise is when they sound chaotic, giving Carnosus (who gives TBDM) or euro-tech and straying further from the Björriffs that propelled them to prominence (see “Evening Ephemeral,” “Utopia Black” or “Mammoth’s Hand”). And Knight and Ellis drop killer solos. “Cursed Creator” hits with shred and harmony, “Transcosmic Blueprint” gives jazz fusion, while “Evening Ephemeral” starts Servitude off on the guitar heroics that made Ryan Knight one of my favorite guitarists ever. Oddly, though, there are a couple of duds as well (“Asserting Domination” is bland, while “Servitude” is fine).

The core of The Black Dahlia Murder hasn’t changed, so the core of Servitude was going to be good. At 35 minutes of riffy, guitar-driven melodic death metal, it’s easy to surmise that The Black Dahlia Murder couldn’t fail on Servitude. And yet, there is a risk inherent to releasing a record following the tragic passing of one of the scene’s most beloved personalities. In a way, you could criticize Servitude for playing it too safe. It hits all the notes you expect it to hit with its Industry Standard Mastering Job™. The Brandon Ellis and Mark Lewis production is functionally indistinguishable from previous albums. And there’s a familiar-but-not-quite feel to certain riffs or melodies. Yet, as a whole, Servitude succeeds at both being very good—hitting extra hard on those last three tracks—and feeling like an honorable way to continue the legacy of one of melodic death metal’s premiere acts.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3s
Label: Metal Blade Records
Websites: Bandcamp | Facebook
Releases Worldwide: September 27th, 2024

#2024 #35 #Abysmal #AtTheGates #Carnosus #DeathMetal #Deflorate #Everblack #Gorod #Melodeath #MelodicDeathMetal #MetalBladeRecords #Obscura #Opeth #Review #Reviews #Ritual #RyanKnight #Sep24 #Servitude #Slugdge #TheBlackDahliaMurder #TrevorStrnad

Blood Red Throne – Nonagon Review

By Dr. A.N. Grier

Three years ago, Blood Red Throne released a behemoth in the form of Imperial Congregation. After dozens of listens, it proves it’s one of the band’s greatest achievements. Fast forward to 2024, and they’re back with their eleventh LP, Nonagon. Continuing where they left off, Nonagon is a destructive motherfucker that incorporates the butchery of Panzerchrist, the relentless riffage of Old Man’s Child, and the melodic subtleties of Hypocrisy. But, no matter what’s sprinkled throughout, Nonagon remains 100% BRT. However, the thing most different about this new album is the vocalist. After contributing to four full-lengths, Yngve “Bolt” Christiansen is out, and in his place is Deception’s Sindre Wathne Johnsen. The result is more vocal diversity as Johnsen likes to flex those blackened rasps. But those concrete-cracking barks and gutturals Bolt is famous for remain—continuing to add a sinister color to BRT’s output. With a new singer in tow, can BRT continue the streak set by Fit to Kill and Imperial Congregation? Or are the treads beginning to come off the tracks?

As the name might suggest, Nonagon consists of nine songs of Norwegian death metal. What might not be apparent is that each track represents a level of hell from Dante’s Inferno. But this theme only translates in the music and album structure. According to founding member Død, the vocals are very much the band’s, leaving you to interpret the meaning behind them. With this knowledge, I venture into the underworld with Virgil leading the way as the devastation increases at each level until I arrive at Cocytus. Or so I hope, as this is quite the theme to encapsulate a death metal album. And for it to fall flat on its face would be the worst thing possible. Well, minus that whole sliding down Lucifer only to stop and peer at his massive dick and balls.

But instead of easing into the first layer, Nonagon gets going in a hurry. “Epitaph Inscribed” is one of the better songs on the album, beginning with an eerie introduction that erupts into a rasping scream and killer riff. While nothing new to the band, the overlapping rasps and barks are far more advanced than previous releases. These add another layer to the barrage delivered by the combined efforts of bass, drums, and guitars. Others that hit the mark in wildly different ways are “Tempest Sculptor” and the title track. “Tempest Sculptor” is a classic BRT piece with machine gun tremolos that settle into a tasty, headbangable groove. While there’s variety in the riff changes and a melodic interlude, this beast is a constant driver that never lets up. My favorite moment is when the bass comes to the surface and sets the song up for its next bludgeoning. “Nonagon” is a slow-paced cruiser with some interesting moments that remind me of At the Gates while others recall Amon Amarth. It’s a straightforward piece that keeps to its guns and delivers a pleasing and addictive performance.

Unfortunately, there are a few areas on Nonagon that I struggle with. The first is the nearly seven-minute closer, “Fleshrend.” While there’s absolutely no shortage of riffs, that’s part of the problem. The track is an endless slew of riff changes. And when it feels like it’s about to build to its climax, it changes directions again. After all the insanity and wild guitar skills, it concludes without delivering the uppercut I was hoping for. In contrast, “Blade Eulogy” takes all its various riff changes and, somehow, makes it work by melding them neatly into a memorable and returnable song. As for “Split Tongue Sermon,” its more-than-capable addition to Nonagon is flatlined by a dreadful electronic solo and spoken-word segment toward the end.

Nonagon is still a strong album and in no way a bad record. It’s just not at the same level as Imperial Congregation. Typically, a killer BRT album grabs me on the first listen, but Nonagon took a while to absorb. Much of that is due to the urge to shove every goddamn riff available into these nine tracks. As I mentioned, a few of these songs could have been better with a little more restraint and a bit more memorability. The other is that, while many of the top songs are belligerently badass, few meet the standards set by songs like Imperial Congregation’s “Itika” and “Consumed Illusion.” That said, Nonagon isn’t a misstep in the band’s catalog. It’s just different, as the focus is on a concept that requires flow and overlap between songs instead of a face-punching display of unchecked wiolence. All this to say, there’s no reason why fans won’t enjoy this new record. It just falls a tad short of the monster that is Imperial Congregation but it still finds the band crushing their performances with a solid mix to boot.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records | Bandcamp1
Websites: bloodredthrone.bandcamp.com2 | bloodredthrone.com | facebook.com/bloodredthroneofficial
Releases Worldwide: January 26th, 2024

#2024 #30 #AmonAmarth #AtTheGates #BloodRedThrone #DeathMetal #Deception #Hypocrisy #Jan24 #Nonagon #NorwegianMetal #OldManSChild #Panzerchrist #Review #Reviews #SoulsellerRecords

Blood Red Throne – Nonagon Review

By Dr. A.N. Grier

Three years ago, Blood Red Throne released a behemoth in the form of Imperial Congregation. After dozens of listens, it proves it’s one of the band’s greatest achievements. Fast forward to 2024, and they’re back with their eleventh LP, Nonagon. Continuing where they left off, Nonagon is a destructive motherfucker that incorporates the butchery of Panzerchrist, the relentless riffage of Old Man’s Child, and the melodic subtleties of Hypocrisy. But, no matter what’s sprinkled throughout, Nonagon remains 100% BRT. However, the thing most different about this new album is the vocalist. After contributing to four full-lengths, Yngve “Bolt” Christiansen is out, and in his place is Deception’s Sindre Wathne Johnsen. The result is more vocal diversity as Johnsen likes to flex those blackened rasps. But those concrete-cracking barks and gutturals Bolt is famous for remain—continuing to add a sinister color to BRT’s output. With a new singer in tow, can BRT continue the streak set by Fit to Kill and Imperial Congregation? Or are the treads beginning to come off the tracks?

As the name might suggest, Nonagon consists of nine songs of Norwegian death metal. What might not be apparent is that each track represents a level of hell from Dante’s Inferno. But this theme only translates in the music and album structure. According to founding member Død, the vocals are very much the band’s, leaving you to interpret the meaning behind them. With this knowledge, I venture into the underworld with Virgil leading the way as the devastation increases at each level until I arrive at Cocytus. Or so I hope, as this is quite the theme to encapsulate a death metal album. And for it to fall flat on its face would be the worst thing possible. Well, minus that whole sliding down Lucifer only to stop and peer at his massive dick and balls.

But instead of easing into the first layer, Nonagon gets going in a hurry. “Epitaph Inscribed” is one of the better songs on the album, beginning with an eerie introduction that erupts into a rasping scream and killer riff. While nothing new to the band, the overlapping rasps and barks are far more advanced than previous releases. These add another layer to the barrage delivered by the combined efforts of bass, drums, and guitars. Others that hit the mark in wildly different ways are “Tempest Sculptor” and the title track. “Tempest Sculptor” is a classic BRT piece with machine gun tremolos that settle into a tasty, headbangable groove. While there’s variety in the riff changes and a melodic interlude, this beast is a constant driver that never lets up. My favorite moment is when the bass comes to the surface and sets the song up for its next bludgeoning. “Nonagon” is a slow-paced cruiser with some interesting moments that remind me of At the Gates while others recall Amon Amarth. It’s a straightforward piece that keeps to its guns and delivers a pleasing and addictive performance.

Unfortunately, there are a few areas on Nonagon that I struggle with. The first is the nearly seven-minute closer, “Fleshrend.” While there’s absolutely no shortage of riffs, that’s part of the problem. The track is an endless slew of riff changes. And when it feels like it’s about to build to its climax, it changes directions again. After all the insanity and wild guitar skills, it concludes without delivering the uppercut I was hoping for. In contrast, “Blade Eulogy” takes all its various riff changes and, somehow, makes it work by melding them neatly into a memorable and returnable song. As for “Split Tongue Sermon,” its more-than-capable addition to Nonagon is flatlined by a dreadful electronic solo and spoken-word segment toward the end.

Nonagon is still a strong album and in no way a bad record. It’s just not at the same level as Imperial Congregation. Typically, a killer BRT album grabs me on the first listen, but Nonagon took a while to absorb. Much of that is due to the urge to shove every goddamn riff available into these nine tracks. As I mentioned, a few of these songs could have been better with a little more restraint and a bit more memorability. The other is that, while many of the top songs are belligerently badass, few meet the standards set by songs like Imperial Congregation’s “Itika” and “Consumed Illusion.” That said, Nonagon isn’t a misstep in the band’s catalog. It’s just different, as the focus is on a concept that requires flow and overlap between songs instead of a face-punching display of unchecked wiolence. All this to say, there’s no reason why fans won’t enjoy this new record. It just falls a tad short of the monster that is Imperial Congregation but it still finds the band crushing their performances with a solid mix to boot.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records | Bandcamp1
Websites: bloodredthrone.bandcamp.com2 | bloodredthrone.com | facebook.com/bloodredthroneofficial
Releases Worldwide: January 26th, 2024

#2024 #30 #AmonAmarth #AtTheGates #BloodRedThrone #DeathMetal #Deception #Hypocrisy #Jan24 #Nonagon #NorwegianMetal #OldManSChild #Panzerchrist #Review #Reviews #SoulsellerRecords

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Today In Metal History ?? May 7th, 2023 ?? TAWNY KITAEN, MOTRHEAD, BERNIE MARSDEN, UFO, AT THE GATES, PANTERA
HEAVY HISTORY Actress and model Julie Ellen "Tawny" Kitaen died in Newport Beach, California one year ago today (May 7th, 2021) at the age of 59. During the '80s, Tawny starred in four classic Whitesnake videos: "Here I Go..

https://bravewords.com/news/today-in-metal-history-may-7th-2023-tawny-kitaen-motorhead-bernie-marsden-ufo-at-the-gates-pantera

#TawnyKitaen #Motorhead #BernieMarsden #UFO #AtTheGates #Pantera #HeavyMetal #MusicHistory #May7th