#austrianmetal — Public Fediverse posts

Pillars of Cacophony – Paralipomena [Things You Might Have Missed 2025]

By Owlswald

Amidst the routine of our daily lives, it’s easy to overlook the hidden, complex universe that exists just outside our normal gaze. It only takes a bit of magnification to reveal it: a place where cells shift and collide, forming the invisible architecture of existence. Capturing the awe of this biological machinery is a tall order. Yet, Dominik, multi-instrumentalist and mastermind of Pillars of Cacophony, has created a soundscape with second LP, Paralipomena, that does exactly that, exploring the building blocks of life through sound. Though tackling the topic of bioscience through the lens of disso and technical death metal may be a volatile experiment, this Austrian knows exactly how to harness the power of biology to bridge the divide. You see, Dominik is a bioscientist by trade, literally mining his own PhD thesis to drive the chaos that is Pillars of Cacophony. This academic authenticity is what sets Paralipomena apart, resulting in a rare fusion of intellect and brutality that you simply can’t afford to miss.

The genome of Paralipomena is an unstable body of technical and dissonant death metal, forged in the chaotic intersection of Ulcerate and The Faceless. The album’s kinetic energy flows freely across synapses, connecting a skin of hooky riffs, tremolo surges, and punishing down-picking. Intelligent songwriting and flash-fire percussion surgically underpin this to create an unsettling cacophony of sonic friction. While tracks like “The Cradle,” “The Discord,” and “Retina” demonstrate Pillars of Cacophony’s hyper-speed technicality, cuts like “Cachexia,” “Mitosis,” and the Meshuggahian “Landscapes of Permanence” twist the formula, venturing into unpredictability with jazzy permutations and calm, contemplative sections (“Maps of Disintegration”). This is the soundtrack to inter-cellular warfare—a torrent of fast-twitch riffing and searing discordance, punctuated by pressurized blast beats, static-laced roars, and the acidic twang of bass, transporting one into a world seen only through a high-powered scope.

Paralipomena is rife with entropy, yet its multi-layered cytoskeleton maintains homeostasis. Pillars of Cacophony’s layered guitars clash and coordinate simultaneously—one flooding the airwaves with raw, unsettling dissonance, while the other focuses on calculated technicality and micro-precision picking. “Of Plagues and Fibrils” immediately delivers Paralipomena’s chemistry of chaos and precise equilibrium in its moving, shifting main palm-muted riff, infecting the listener’s brain like a disease with its immediate, powerful hooks. The drums’ complex cymbal flares and tom rolls only enhance the track’s memorability, providing badass atmosphere and tasteful technicality in equal measure. Pillars of Cacophony showcases this same momentum again in “Retina,” which pushes a Necrophagist-like tempo—particularly during its groovy double-bass sections and unidirectional picking—and “The Cradle,” where the rhythm section anchors the frenetic guitar work and furious tremolodic leads.

Ever since it dropped earlier this year, Paralipomena continues to grip me. It succeeds by concentrating sonic violence to create the ultimate soundtrack to a hidden world—one that feels as technically layered as it is immediately catchy. Pillars of Cacophony has forged an album that pairs an extreme and dystopian soundscape with the surgical authority of empirical sciences, carving a bespoke path outside the predictable confines of death metal. If you’re a fan of disso or tech-death and somehow missed Paralipomena, consider this your diagnosis and remedy that malady immediately.

Tracks to Check Out: “Of Plagues and Fibrils,” “The Cradle,” “Retina,” “The Discord.”

#2025 #AustrianMetal #DeathMetal #Meshuggah #Necrophagist #Paralipomena #PillarsOfCacophony #TechnicalDeathMetal #TeratogenRecords #TheFaceless #ThingsYouMightHaveMissed2025 #TYMHM #Ulcerate

Bergfried – Romantik III Review

By Grin Reaper

After dropping debut EP Romantik I in 2022 and follow-up Romantic II in 2023,1 Austrian-Hungarian duo Bergfried rides in on a wave of 80s nostalgia to deliver debut full-length Romantik III. The conclusion of a trilogy, main character Anna (voiced by Anna de Savoy2) tirelessly roams hell in pursuit of her lost lover. During the search, Anna clashes with God and Devil3 in her quest for love reunited. Bergfried and the Romantik series are the creations of Erech von Lothringen, guitarist on Romantik III and mastermind of Narzissus and Ancient Mastery, among others. While his other projects lean toward black metal, Bergfried forges something entirely different—a rock opera. Does Bergfried’s take on the style breathe new life into a tale as old as time, or would it have been kinder to leave it in the past?

If The Dark Crystal and Star Wars-inspired album art doesn’t clue you in, 80s vibes radiate throughout Romantik III, but not in the way I initially expected. Advance single “Queen of the Dead” sizzles with its Smouldering good hooks. Upon hearing it the first time, the promise of polished steel, bulging breastplates, and synth-laden heavy metal really rattled my saber. Listening through the entire album, however, reveals an altogether different beast. Lead track “Dark Wings” takes off with a riff that could easily nestle into The Cult’s Love, and it doesn’t take long to realize that Romantik III doesn’t follow the boot-trodden, retro heavy metal path of Eternal Champion or Blood Star. Instead, Bergfried’s platter favors an intersection of Meatloaf (“Dark Wings”) and Pat Benatar (“Fallen from Grace”).

Romantik III’s success hinges on Anna de Savoy’s performance, and she mostly triumphs alongside von Lothringen and various guests.4 Never satisfied to linger on one sound for too long, Bergfried bears a handful of ballads (“For the Cursed,” “Star-Crossed Love”), 80s pop rock anthems (“Dark Wings,” “Tears of a Thousand Years”), and a touch of pop punk à la Blink-182 (“Serenades,” after the unadorned piano-ballad intro). Throughout the album, Anna de Savoy brandishes her voice to carry the story forward, harnessing an earnest, commanding presence. Unfortunately, her voice falters on a few occasions (the pre-chorus of “Tears of a Thousand Years,” for example), undermining an otherwise tremendous display of heartfelt conviction. The music supports her effectively, with rollicking guitar, synth, and bass undergirding the tale Anna spins without ever pulling attention away from her for too long. The guitar solos warrant praise as well,5 expanding Romantik III’s sonic range with snappy licks and quicker paces to keep things moving.

An organic mix and slick diversity pervade Romantik III’s nine tracks, preventing Bergfried from getting too mired in morose exposition. That said, some of the slower moments undercut the momentum built by preceding ones. In particular, the transition from “Gates of Fate” to “Serenades” dampens impact. The former is a rousing track that yields to a minute-long piano and vocal passage. “Serenades” eventually picks up, but by then the energy has stalled and requires a jump-start. The same issue recurs between “Tears of a Thousand Years” and “Star-Crossed Love.” Ballads can offer moments to expound on important story elements without distraction, and can also be an effective mechanism to control pace. What works against Bergfried in Romantik III, though, is that the best moments are the upbeat ones. Still, the individual track lengths are concise, and an easy-to-digest, forty-four-minute runtime makes replays easy. The mix and master are also perfectly suited to the 80s atmosphere, with bouncy bass and natural drums recalling production predating loudness wars and digitally-enhanced perfection.

Bergfried’s Romantik III does something many bands struggle with by creating a unique vision and sound that leans heavily on influences without aping them. With further refinement, their next project could be something fabulous, but for the time being Bergfried has bestowed listeners with an intriguing and offbeat album. I enjoyed my time with it, yet I’m not sure I’ll return to the Romatik series often. Given the talent and care that went into crafting it, though, I’ll be acutely attuned to whatever adventure these romantiks embark on next.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 24th, 2025

#1980s #2025 #30 #80sMetal #AncientMastery #Annihilator #AustralianMetal #AustrianMetal #Bergfried #Blink182 #BloodStar #Dragony #Elvenking #Enforcer #EternalChampion #HardRock #HeavyMetal #HighRollerRecords #Meatloaf #Narzissus #Oct25 #PatBenatar #PopRock #RedEyeTemple #Review #Reviews #RomantikIII #Smoulder #TheCult