#bjes — Public Fediverse posts

Well, that didn’t last long. A brief spell of dry heat replaced with violent and frequent storms, made deadlier by the power of wind. That makes navigating the outdoor-mounted ducts of our aging Filter that much more perilous. Not to be deterred, my minions work under great duress and for inhumane hours to scour and scrounge for anything that glimmers like gold. It’s not gold, of course, but it’s something!

Tricky, though this process becomes under these conditions; we still managed to make a modest haul for you all. BEHOLD!

Creeping Ivy’s Fantastic Finn

Coma Control // Shed the Sleep [August 14th, 2026 – Independent]

Shed the Sleep is much too good for the Filter. Alas, I’m pulling a Clarkkent, who (fantastically) filtered the (fantastic) new Bloody Valkyria album, so that it wouldn’t get lost in the year-end shuffle. Like Bloody Valkyria, Coma Control is the brainchild of one Finnish man, that man being Tapio Honka. But unlike Jere Kervinen’s brand of symphonic black metal, Honka deals in progressive death metal akin to Anciients, Between the Buried and Me, and Oldpeth. Like these groups, Coma Control shifts wildly yet smoothly between extremes of tempo and mood, crafting tracks that feel less like ‘songs’ and more like journeys (“Apathy’s Abundance”). Case in point: “Inherently Unmet” plunges itself into one of the thousand lakes dotting Honka’s frigid homeland to—of all things—go surfing. Whether he’s hitting you with intricate nuttiness (“Post-Aware”), grandiose neoclassicism (“Well of Absence”), or stank-faced nastiness (“Seething Hunger”), Honka proves himself to be an excellent, versatile axeman, never wanking for wankery’s sake. Vocally, Honka alternates between pristine cleans and dirty growls, executing both with power and clarity. Sure, some sections strongly echo the project’s influences, especially BTBAM: the opening chords of “Transience” (“Condemned to the Gallows”), the accordion break in “Immersed in Whispers” (“Prequel to the Sequel”). Nevertheless, Coma Control demonstrates breathtaking range on its sophomore effort and the ability to coalesce its disparate elements into vital, excitable adventures. If you can’t get enough progressive death metal, add Shed the Sleep into your rotation—it’s a fantastic 49 minutes, from start to Finnish.

ClarkKent’s Melodic Mixtape

Show N Tell // Eyes of Evil [August 14, 2026 – Self Released]

It has a cover that might make you cross-eyed and a vocalist who might make you cringe, but the second record from Phoenix’s Show N Tell, Eyes of Evil, contains enough spunk and joy to overcome your defenses and provide a good time. While the less-than-stellar singing ability of David Rodriguez nudged the debut, The Ritual Has Begun, into mixed territory, this one has enough of the throwback goodness that Steel loved to make it a worthwhile spin. Show N Tell channel all sorts of classic ’80s NWOBHM acts, like Judas Priest,1 Def Leppard, Saxon, and some Dokken, providing some modern touches à la Wings of Steel. Eyes of Evil has it all, tempo-wise, with the galloping rhythm of “Out for Blood” to the mid-tempo rocker “Still the Fire Burns” to the weepy Motley Crüe-ish ballad of “Without You.” These tempo shifts guarantee things never grow stale by feeding your ears a varied diet of sounds. Yet there’s no denying that the speedy cuts like “Secret of Steel” and “Fallen Angel” steal the show with their incredible energy and awesome riffs. Yes, Rodriguez still has room to improve tonally, but if you want an album that rocks the classic sound with catchy choruses and frequent solos, Eyes of Evil has those in droves.

Bjes // Propastí [August 10, 2026 – Self Released]

If you say the name Bjes three times in a row, you’ll summon their music into the nearest speakers. While those sounds of atmoblack/DSBM may scare the Bjesus out of most of you, pay close attention and you might find something to enjoy. This Czechian group has released a handful of small releases in recent years; in fact, four of the six songs on Propastí come from prior EPs. The older material is by far the more compelling. Bjes excels at the sort of catchy melodic trems played by the likes of Finsmoonth and Pure Wrath, as demonstrated on the terrific “13:31.” While atmoblack-style blast beats carry the day for much of the record, the slower tempo “Labyrint Života” has a big emotional impact with some poignant arpeggios and a late melancholic lead tremolo. “Juan Garin” contains a touching performance from the folk Czech musician Johanna Vesa, which takes a bone-chilling turn when she suddenly begins crying out in distress. Propastí evokes its sorrows in all manner of ways, and it proves to be a solid bit of melodic atmo/melancholic black that has a little something new for fans as well as some worthwhile tunes for everyone else.

Burning Sun // Power to Survive [August 21st, 2026 – Pride & Joy Music]

Our Lobodomized Baguette first introduced AMG readers to Hungary’s Burning Sun via their second album, Retribution. In the 11 months since that release, the band underwent a lot of changes ahead of the release of Power to Survive. They caught the attention of Pride & Joy Music,2 and also added a drummer, Edmond Kulcsár, and new vocalist, Nicolas Peter,3 allowing Pablo Ireland to focus solely on guitars. What didn’t change is the thematic content, as bassist Zoltán Papi continues the saga of his World of Warcraft character, the paladin Emaly. Her titular song, “Emaly’s Hymn,” an anthemic piece with some thrashy energy, is one of the record’s highlights. While the Helloween influences remain, Peter’s vocal approach places the record closer to the Fellowship or Memories of Old style of power metal due to his more uplifting cadence. Power to Survive contains all of the power metal trappings in a fun shell, from galloping blast beats to shreddy solos to rousing choruses, the best of which comes last, on the adrenaline-fueled “We Rise Again.” Burning Sun also get in touch with their more sensitive side on the ballad, “Holy Light,” with its arpeggiated riffs and mournful croons. In Emaly, Burning Sun have created a fantasy protagonist we can root for, and in Power to Survive they have proved themselves a young power metal band also worth cheering for.

Grin Reaper’s Independent Streak

Bloody Cumshot // Libidinosis [August 12th, 2026 – Self Released]

Though the name radiates viscerally repugnant horrors, Japan’s Bloody Cumshot trades in sleek melodic death metal steeped in anthemic leads and acidic vocals. Masterminded by Junya (Zemeth), Bloody Cumshot began in 2021 and has spawned three albums in the intervening years. The latest, Libidinosis, picks up where sophomore release Deflorantism left off, ripping through twelve tracks in forty-one minutes of whiplashing ear candy rife with soaring melodies and scorching speeds. The riffs are the star of the show, as Bloody Cumshot’s own Bandcamp page concedes that “the lyrics consist entirely of meaningless invented words. Lyrics are unnecessary.” And though it’s disappointing not to milk the likes of “Vaginal Fluid Harvester” and “Devastating Bukkake” for lyrical substance, the guitars more than make up for it. In GardensTale’s write-up of debut Nymphomania, he called out The Black Dahlia Murder, Carcass, and Children of Bodom as reference points, and they continue to hold true on Libidinosis. Additionally, “Morgue Between Her Legs” wouldn’t be out of place on a newer Cradle of Filth album, “Cadaverous Bloom” lacerates with the neoclassical precision of Galneryus, and “Eternal Silence of Autumn” conjures shades of Wintersun. Across every track, Bloody Cumshot launches piercing hooks deep into your earholes, and the trim runtime makes revisiting Libidinosis wickedly simple. So if you’re lusting after razor-sharp melodeath that teases and pleases, Libidinosis might be the cure for what ails you.

Witchforce // Witchforce [August 21st, 2026 – Self Released]

New York’s Witchforce barrels out with a self-titled debut sporting a potent concoction of heavy metal and hard rock that recalls the heyday of the 80s while remaining fresh and fun. Frontwoman Cassie Nadeau roars with grit and conviction, commanding the stage with powerhouse vocals as the rest of the band supplies tight performances across three-quarters of an hour. Opener “Save Our Souls” slings spirited guitars courtesy of Steve Woodzell and Tommy Von Voigt while drummer Sai Chi lays down straightforward rhythms bolstered by nimble fills. Alongside Nadeau’s sultry bellows, the track’s five minutes pass all too quickly, but even more of Witchforce’s retro goodies await. “Witchcraft” and “We All Shine On” beat with the heart of vintage-era Ozzy, “Kicked Out of Hell” plays as a high-octane Alice Cooper cut, and “Heroes & Fools” could have been ripped straight out of Dio’s The Last in Line. Other tracks lean into hard rock territory, as “Never Say Die” summons strong Pat Benatar energy and “The Hunter” struts with a Kissiffied slinky swagger. All told, Witchforce wields ample reference points with enough finesse to sidle up beside them without feeling overly familiar. If you’ve got an itch for some unsung heavy rocking tunes but you’re unsure which course to take, go with Witchforce.

Killkaiser // Killed in Carnage [August 27th, 2026 – Self Released]

South Korea is known for many things, but a metal scene ain’t one. As best I can tell, we’ve only reviewed three Korean bands during AMG’s existence, and now thrash upstart Killkaiser joins the list. Unleashing thirty-four minutes of blazing paces and thuggish chugs, debut Killed in Carnage declares Killkaiser’s allegiance to the olde school in flurries of riffs and gang vocals. Killed in Carnage most immediately evokes Exodus with its rough ‘n’ ready production, sharp guitar acrobatics, and an infectious bounce that enlivens its tracks, particularly “Perishable Gears,” “Partisan,” and “Hermit of Wrath.” Echoes of Testament can be heard as well, where “Perpetual Pain” harkens to The New Order and mid-paced “The Final Scream” could slot into The Ritual without fuss. Despite acting as a love letter to thrash’s golden age, Killkaiser blends in seamlessly with more recent acts like Havok and Lich King as well. All told, Killkaiser revels in vicious riffs, delicious solos, and a dual vocal attack that lends further dynamism to their arrangements, and I heartily recommend anyone on the prowl for a lean cut of beefy thrash to sink their teeth into Killed in Carnage.