#cradleoffilth — Public Fediverse posts

Black metal veterans Hecate Enthroned have spent decades trying to step out of Cradle of Filth’s shadow—and not without reason. The two are widely credited with helping shape the UK black metal scene, sharing close stylistic similarities and even swapping a member or two at various points. In the late ’90s, they were nearly as inseparable as a pair of sultry vampiric twins until Cradle of Filth’s theatrical bombast launched them into the mainstream, landing their merch in Hot Topic stores and on the backs of angsty teenagers everywhere. Meanwhile, Hecate Enthroned remained largely underground. Over the course of six albums, they’ve largely stayed true to their sound, and while consistent, their discography has often felt average. 2019’s Embrace of the Godless Aeon was no different, receiving a modest rating from these hallowed halls. Their seventh effort, The Corpse of a Titan, A Lament Long Buried, harkens the return of these blackened aficionados after a seven-year break, and given these lads’ history, curiosity led me to snag Corpse from the promo bin.

Continuing the trajectory set by its predecessor, Corpse pushes Hecate Enthroned further into Emperor’s nocturnal, foreboding soundscapes rather than Cradle of Filth’s, injecting some fresh touches that come as a pleasant surprise. Tracks like “Steed of the Still Water,” “Spirits Stir Within Our Ancestors Tombs” and “The Arcane Golem” elicit solid songwriting and build on the same orchestral arrangements Lord Doom previously deemed gutless. This time, however, the symphonics feel more varied, robust, and commanding, often drawing my attention amid the group’s tight and confident performances. Corpse also ventures into atmo-black territory on songs like “Deathless in the Dryad Glade” and “Steed of the Still Water,” while vocalist Joe Stamps adds welcome variety to the classic Dani Filth-esque shrieks of albums past with a smattering of demonic growls and coarse shouts that lend a sharper edge previously missing.

Hecate Enthroned’s sharp performances, well-executed melodic passages, and occasional bursts of groove and heaviness reinforce that these are seasoned veterans who understand their craft. Throughout Corpse—especially in its first half—there are numerous moments that suggest a more focused version of the group is finally emerging. “The Arcane Golem” and “Spirits Stir Within Our Ancestors Tombs” pair incisive tremolos with hooky riffing and cinematic orchestral flourishes, while Stamps’ rasp and growl attack cuts through the mix with authority. Similarly, “Deathless in the Dryad Glade” and “Steed of the Still Water” highlight the sextet’s melodic instincts and sense of dynamics, weaving vulnerable, atmo-black-inspired intros into blazing tremolos, acoustic and violin textures, and piano accents that coalesce into some of the album’s best moments. The latter’s opening groove and added vocal heft make it one of the record’s most complete cuts, standing out clearly from the rest.

While Hecate Enthroned’s musicianship is rarely in doubt, the record’s high points constantly clash with its more persistent shortcomings. Long runtimes, abrupt transitions, and questionable structural choices—like the six‑minute interlude “Pwca,” which builds to nothing, or the jarring segue that kills the momentum of “A Gallery of Rotting Portraits”—are frustrating because they erode Corpse’s potential. And at 53-minutes, the album’s songwriting is often too bloated for the material it contains. Several tracks stretch past seven minutes despite having ideas suited for far shorter runtimes, resulting in repetition and stagnation. Mid-song atmospheric interludes also routinely overstay their welcome and muddled thematic and structural decisions only compound things. The outcome is a record where the standout moments feel like exceptions rather than the rule and where uneven, overextended songwriting undermines Hecate Enthroned’s skill.

The phrase “what you see is what you get” applies perfectly here, as Corpse largely walks the well-trodden path Hecate Enthroned have been treading for over twenty years. A great record has long eluded these Brits, and the streak continues with Corpse. I enjoyed several cuts on this record, and it was close to coalescing into something greater, but inconsistent songwriting, structural missteps, and homogeneity limit its upside. Corpse’s strengths prove Hecate Enthroned still have the technical ability and atmospheric instincts to craft compelling symphonic black metal, even if they appear too sporadically to define Corpse as a whole. Longtime fans will certainly find lots to be excited about here and likely appreciate how faithfully they’ve stayed true to their roots while pushing other aspects forward. For listeners like me, however, Hecate Enthroned remain adrift in a crowded black sea of similarly minded bands that are competent, occasionally compelling, but far from essential.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: M-Theory
Websites: Bandcamp | hecateenthroned.com | facebook.com/HecateEnthroned
Releases Worldwide: May 29th, 2026

Black metal veterans Hecate Enthroned have spent decades trying to step out of Cradle of Filth’s shadow—and not without reason. The two are widely credited with helping shape the UK black metal scene, sharing close stylistic similarities and even swapping a member or two at various points. In the late ’90s, they were nearly as inseparable as a pair of sultry vampiric twins until Cradle of Filth’s theatrical bombast launched them into the mainstream, landing their merch in Hot Topic stores and on the backs of angsty teenagers everywhere. Meanwhile, Hecate Enthroned remained largely underground. Over the course of six albums, they’ve largely stayed true to their sound, and while consistent, their discography has often felt average. 2019’s Embrace of the Godless Aeon was no different, receiving a modest rating from these hallowed halls. Their seventh effort, The Corpse of a Titan, A Lament Long Buried, harkens the return of these blackened aficionados after a seven-year break, and given these lads’ history, curiosity led me to snag Corpse from the promo bin.

Continuing the trajectory set by its predecessor, Corpse pushes Hecate Enthroned further into Emperor’s nocturnal, foreboding soundscapes rather than Cradle of Filth’s, injecting some fresh touches that come as a pleasant surprise. Tracks like “Steed of the Still Water,” “Spirits Stir Within Our Ancestors Tombs” and “The Arcane Golem” elicit solid songwriting and build on the same orchestral arrangements Lord Doom previously deemed gutless. This time, however, the symphonics feel more varied, robust, and commanding, often drawing my attention amid the group’s tight and confident performances. Corpse also ventures into atmo-black territory on songs like “Deathless in the Dryad Glade” and “Steed of the Still Water,” while vocalist Joe Stamps adds welcome variety to the classic Dani Filth-esque shrieks of albums past with a smattering of demonic growls and coarse shouts that lend a sharper edge previously missing.

Hecate Enthroned’s sharp performances, well-executed melodic passages, and occasional bursts of groove and heaviness reinforce that these are seasoned veterans who understand their craft. Throughout Corpse—especially in its first half—there are numerous moments that suggest a more focused version of the group is finally emerging. “The Arcane Golem” and “Spirits Stir Within Our Ancestors Tombs” pair incisive tremolos with hooky riffing and cinematic orchestral flourishes, while Stamps’ rasp and growl attack cuts through the mix with authority. Similarly, “Deathless in the Dryad Glade” and “Steed of the Still Water” highlight the sextet’s melodic instincts and sense of dynamics, weaving vulnerable, atmo-black-inspired intros into blazing tremolos, acoustic and violin textures, and piano accents that coalesce into some of the album’s best moments. The latter’s opening groove and added vocal heft make it one of the record’s most complete cuts, standing out clearly from the rest.

While Hecate Enthroned’s musicianship is rarely in doubt, the record’s high points constantly clash with its more persistent shortcomings. Long runtimes, abrupt transitions, and questionable structural choices—like the six‑minute interlude “Pwca,” which builds to nothing, or the jarring segue that kills the momentum of “A Gallery of Rotting Portraits”—are frustrating because they erode Corpse’s potential. And at 53-minutes, the album’s songwriting is often too bloated for the material it contains. Several tracks stretch past seven minutes despite having ideas suited for far shorter runtimes, resulting in repetition and stagnation. Mid-song atmospheric interludes also routinely overstay their welcome and muddled thematic and structural decisions only compound things. The outcome is a record where the standout moments feel like exceptions rather than the rule and where uneven, overextended songwriting undermines Hecate Enthroned’s skill.

The phrase “what you see is what you get” applies perfectly here, as Corpse largely walks the well-trodden path Hecate Enthroned have been treading for over twenty years. A great record has long eluded these Brits, and the streak continues with Corpse. I enjoyed several cuts on this record, and it was close to coalescing into something greater, but inconsistent songwriting, structural missteps, and homogeneity limit its upside. Corpse’s strengths prove Hecate Enthroned still have the technical ability and atmospheric instincts to craft compelling symphonic black metal, even if they appear too sporadically to define Corpse as a whole. Longtime fans will certainly find lots to be excited about here and likely appreciate how faithfully they’ve stayed true to their roots while pushing other aspects forward. For listeners like me, however, Hecate Enthroned remain adrift in a crowded black sea of similarly minded bands that are competent, occasionally compelling, but far from essential.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: M-Theory
Websites: Bandcamp | hecateenthroned.com | facebook.com/HecateEnthroned
Releases Worldwide: May 29th, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?1

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,2 their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)3 pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

To anyone who actually found 2025 to be a solid-to-great year, I envy you. For me, 2025 was one of the absolute worst years of my life. And that counts divorce and suicidal years. With many of you, it began with working my ass off to keep my job in these trying times of financial uncertainty—especially with AI rearing its ugly fucking head. Well, that’s before that bubble bursts and causes more issues than it did before. Then, after returning from a NYC work trip, my 19-year-old black devil, King, collapsed from liver failure, resulting in having to put down a feline friend I’ve raised since a kitten and who I had as my companion for nearly half my life. Jump ahead a few months and, out of the fucking blue, my father collapses in the yard, never to regain consciousness again. With months of heartbreak and stress coming down on my heart like a rain shower of titanium dildos, some professionals were convinced I suffered a literal heart attack. After months of tests and medications, it’s clear that age and stress have crept up on me. The result of all this shit led to one of the worst years of productivity in the sacred halls of Angry Metal Guy. So, I apologize to everyone for the lack of output, especially when 2025 was a solid-to-great year of metal releases. Hopefully, this list will suffice and provide a few killer records that the rest of the crew idiotically withheld.

I’d be lying if I said listening to music and writing reviews came easily to me this year. Hell, writing in general has been difficult to do, and I do it for a living. But the fun, creative elements of AMG have been lost to me for months, which is sad as hell because I know I have way more curse-word combinations flowing through my veins. Thankfully, the support of this group and my family has been fundamental to getting me back on a path to mental and physical health so I can feel somewhat like a normal person. Thankfully, keeping busy with editing/deleting other writers’ lists1 and putting together my elite one has brought back a touch of spark. While I will always be the grumpy Grier that everyone knows and loves hates, I do appreciate the support from the entire gang—being a part of this monster that AMG built, being belittled by Steel, being filthy with Kenny and Grymm, trolling Dolph, hating on Doom, annoying the Shark, and getting provocative gifts from Ferox—because it’s a surprisingly therapeutic experience. Which is kinda fucked up, now that I think about it…2

So, let’s raise a glass to this coming year and let’s hope it’s a 3.5/5.0 compared to this 0.5/5.0 one. And enjoy these awesome picks you ignored because some of these idiots colluded for analytics.

#ish. The Haunted // Songs of Last Resort – This selection surprised even me. Though I fucked up and ran out of time to review The Haunted’s newest opus, Songs of Last Resort, it regularly surfaced on my playlists and, in classic Grier fashion, secured my “ish” selection. If you’re new to a Grier list, I reserve my “ish” pick for those records I can’t put down. Though in most cases, these selections can legitimately be considered my eleventh pick. Regardless, Songs of Last Resort is a welcoming return to form that reminds me a lot of the band’s output during the period of One Kill Wonder and RevolveR. Sure, it helps that One Kill Wonder’s Marco Aro is back in the band, but this album’s flow is similar to those others. The longest track on the record clocks in at four-plus minutes, while the others come and go like a phantom sucker punching each time you arrive at a new landing on a creepy-ass staircase. After being set up perfectly with the addictive opening track, “Warhead,” the short, punchy “Death to the Crown” swings a left hook before the chonky bass-kicking “Bleeding Out” has you belting the chorus at the sky. Then, the whole thing drops into the mid-paced back-to-backers, “Labyrinth of Lies” and “Letters of Last Resort.” Come all The Haunted enthusiasts and let us rejoice.

#10. Sexmag // Sexorcyzm – SEXXXXXXXMAG!!!!! You all knew this was going to happen. But really, it makes perfect sense when you consider the influences these crazy Poles incorporate into their music. Bands like Bathory, Darkthrone, Slayer, and Mercyful Fate, to name a few. After years of demos and EPs, Sexmag finally released their first full-length under the ever-sexy name, Sexorcyzm. Even sexier are track names like “Inkubus,” “Sex z diabłem,” and “Psalm I – Intronizacja Szatana.” I don’t know what any of them mean, but they either have “sex” in the title or just sound sexy. But, in all seriousness, the band’s wild blend of black, death, and thrash influences makes this one of the funnest records of the year. The skill is impressive, the vocals are outlandishly ugly, and the album’s dynamics bring everything to life in the most pleasing and gross way. If you skipped on this album because you thought Grier was doing one of his assinine trolling fests, you are wrong, and you need to correct your sexiness.

#9. Vintersorg // Vattenkrafternas spel – While not the band’s best output in a long line of great albums, Vattenkrafternas spel is still one of the best Viking/folk metal records of 2025. Infusing the Vintersorg of old with the new, Vattenkrafternas spel sets out to capture the hearts of its entire fanbase in this meaty, hour-long journey through the band’s signature Viking, folk, and progressive landscapes. The production does wonders for the album when compared to past offerings that are as compressed as hard tack. Be it the blackened beauty of “Efter dis kommer dimma,” incorporating gorgeous, male and female clean vocals, or the folky “Malströmsbrus” with its Vintersorg yodeling and addictiveness, Vattenkrafternas spel pushes and pulls on those strings of yore to bring you something comfortable yet refreshing. That said, no Vintersorg record is complete without the outrageous key atmospheres so prevalent and unique to their sound. Songs like “Ur älv och å” and “Ödsliga salar” fulfill that urge, ensuring erections for this kind of key play remain hard and girthy.

#8. Bear Mace // Slaves of the Wolf – As many of you know, I am not a big death metal guy. I was at one point, but the predictability of the style, as it became trapped on endless repeat as old masters tried to remain relevant into the 00s, began to turn me off. That’s not uncommon for any other genre that had a heyday at one point in metal’s existence. The acceptance that lovers of the genre might surface and borrow shamelessly from previous groundbreakers has allowed me to enjoy what I once did. Bear Mace is just such a band that, every time I spin one of their releases, I’m transported back in time when Massacre, Bolt Thrower, and the like were fresh to my pubescent self. And this year’s Slaves of the Wolf sees Bear Mace punching it up to a new level and delivering crushing riff after crushing riff. I cannot deny that the nasty, relentless attacks of “Slaves of the Wolf,” “The Iceman Cometh,” and the back-to-back “Prophecy” and “Cancerous Winds” keep me coming back time and again. While all Bear Mace is macy, Slaves of the Wolf stands above the others and delivers big bear slaps. Or something like that.

#7. Gaahls Wyrd // Braiding the Stories – Regardless of whether you interpret “wyrd” as “weird” or “word,” both can be applied to Gaahls Wyrd’s sophomore outing, Braiding the Stories. Whether Gaahl’s words hit you harder than the band’s weird approach to atmospheres and influences is completely up to you. Be it captivating, moody numbers like the title track or the balls-to-the-walls “Time and Timeless Timeline,” Braiding the Stories has all a Gaahl fan could ever want. From low whispers to Gaahl’s terrifying shrieks, the moods captured on this record are stronger and far superior to anything the band has ever put together. It’s an unsettling disc that fucks around with track lengths, moods, and everything in between. At one point, you are cruising through a nearly nine-minute-long, atmoblack piece before being pummeled to death for three new minutes. Then, you’re chilling in two minutes of an ethereal nightmare before the hammering of drums comes down on your head like that of Mephorash. It’s a bewildering, disorienting experience that is so pleasing it should be illegal. Gaahl’s days atop the mighty Gorgoroth might be over, but Gaahl ain’t going anywhere yet.

#6. Mors Principium Est // Darkness Invisible – This one might be a surprise to many because Mors Principium Est’s last record, Liberate the Unborn Inhumanity, was not good. This was probably in part because Andy Gillion, the staple of the band since 2011, and the wizard that brought us the impressive guitar work of …And Death Said Live and Dawn of the 5th Era, left the fold. To make matters worse, Gillion dropped one hell of a killer record last year in the form of Exilium. Regardless of whether anyone agrees that Darkness Invisible is a return to form for MPE, it’s indeed far superior to its predecessor, and a record that has been haunting me since its release. Perhaps it’s the mood I’ve been in for the last few months that dragged Darkness Invisible, scratching and screaming, into my year-end list. Or maybe it’s because no matter what MPE releases, I’ll find something to love. For those who skipped it, check out the gorgeous female vocals of “All Life Is Evil” and the heart-wrenching melodeath of tracks like “Of Death” and “Summoning the Dark.”

#5. In the Woods… // Otra – In the Woods… have been around a long time in a lot of different iterations. Be it the coming and going of founders and bandmates, or the careless attitude of genre and sub-genre fuckery, this Norwegian outfit has worked tirelessly to cement both the lineup and the direction the band wants to be identified as in this new era. While 2022’s Diversum began the exploration of blending styles, this year’s Otra did far more to ensure the concrete begins to settle and cure. Tapping into their wide variation of influences, you can capture everything from Borknagar-esque progressions to the black ‘n’ roll character of Carpathian Forest and the low, doomy patterns of Type O Negative and A Vision Bleak. And, somehow, it all works—each song biting on the ass-end of its successor, forcing the music to flow in a pleasing, yet unlikely recordpede. It’s been a while since I felt that In the Woods… might have something worth getting excited about, but this new direction creates palpitations in my olde, black heart.

#4. Green Carnation // A Dark Poem, Part I: The Shores of Melancholia – Green Carnation has been a literal staple in my life for fuck knows how long. And each record has a place, mood, and time that work—regardless if it’s the wild choirs and orchestrations of Journey to the End of the Night, the one-track Light of Day, Day of Darkness, the goth-rock of A Blessing in Disguise, or the acoustic bliss of The Acoustic Verses. This Norwegian outfit has damn-near tried it all, and it works each time. But 2020’s Leaves of Yesteryear was a goddamn epic, and it’s hard to consider anything would be anywhere as strong. Sadly, A Dark Poem, Part I: The Shores of Melancholia is not as strong. Does that make it a bad album? Fuck no. That’s why it’s on my list. Like its predecessor, it’s engulfed in moods and textures that only Green Carnation can do. And with two more parts in sight for what can clearly be described as the beginning of something new, there’s a good chance these gents will be on even more Grier lists.

#3. Ars Moriendi // Leur esprit marche dans les ténèbres – No Grier list is complete without mention of the mighty Ars Moriendi. Though I dropped the ball when it came around for review, that didn’t stop me from spinning this record since its release in June. As with all Ars Moriendi releases, Arsonist continues to push his limits in everything from performances to songwriting and production. And Leur esprit marche dans les ténèbres is no different. Be it the engulfing atmospheres of the two-part “L’abbé de Monte-à-Regret,” the impressive bass work of the powerful “Trouver la fontaine,” or the heart-wrenching piano and clean vocals of “Puisqu’elle est éternelle,” this new record is a captivating display of progressive black metal prowess. Sprinkled throughout with electronic effects and hypnotizing sound bytes, Leur esprit marche dans les ténèbres is a full experience that cannot be disconnected or Spotified. To truly understand it, you must get lost in it.

#2. Abigail Williams // A Void Within Existence – I’ve been an Abigail Williams fan for a long time, but never has one of their albums hit me as hard as A Void Within Existence does. Combining elements of second-wave assaults, atmospheric black metal, and crushing sadness, this new record is perhaps the band’s best. While a couple of songs reach the heights of Song o’ the Year, not a single one is out of place. After the black metal pummeling that is “Life, Disconnected” and “Void Within,” “Talk to Your Sleep” stomps your ass straight into the ground, developing a nice interlude from the norm, and a headbangability that is unique to the band’s songwriting. When the album closes with “No Less than Death,” a clean-vocal performance sends me in a depressive spiral that I still haven’t recovered from. Ken Sorceron and co. have done it again, alternating between peaks and valleys of emotion that disrupt basic brain functions and leave me in an absolute pit of despair.

#1. Havukruunu // Tavastland – I don’t think there’s much more that I can say about Havukruunu that hasn’t been said before. For years, these fantastic Finns have been scratching that itch for old-school Bathory-core that is almost as good as the real fucking thing. And, for years, they’ve nestled gently into my year-end lists but never quite climbed over other incredible albums at the time. This year, things have changed. Tavastland is not only the best album of the year but arguably Havukruunu’s masterpiece. Incorporating every element of their sound into this near-perfect track list, you’ll experience everything from bludgeoning Bathory-meets-Immortal riffs, feel-good Viking plods, melodic passages, and seamless transitions that make repeat listens oh-so soothing. Not to mention, the tight performances and open production will have you gushing over Humö’s fantastic bass work. It’s a monstrous, lively, and energetic album that’s difficult to put down and never disappoints, regardless of whether you’re in the mood for pillaging unsuspecting villages or sitting on the beach with a daquery.

Honorable Mentions

• Lychgate // Precipice – I wish I had given this record more time. Instead, it had to be released in fucking December. Stop doing that! Regardless, this is a weird fucking record with a lot of balls and a lot of aggression that you plebs should listen to.
• Hazzerd // The 3rd Dimension – OK, hear me out. The 3rd Dimension is one of the best thrash records of the year, and you’re a poser if you disagree. With Death Angel-like vocals and Exodus-meets-Slayer riffage, all wrapped up in some impressive technicality, ya can’t go wrong with Hazzerd’s newest outing.
• Cradle of Filth // The Screaming of the Valkyries – I can’t deny it, The Screaming of the Valkyries is fucking good. So good that I can’t stop spinning it. With the help of new female vocal support, a new guitarist, and some killer, punchy tunes, this new record is an embedded thorn in my ass that I can’t locate or remove, no matter how I try.
• Them // Psychedelic Enigma – The story goes on, even when we all thought it was over after the NYC debacle known as Fear City. Looking to milk their characters and lyrical directions to death, Them is back with a new chapter in Psychedelic Enigma. Though it’s not as good as recent releases, it still helps my longing heart continue to beat in hopes of a new King Diamond record.
• Blood Red Throne // Siltskin – This was yet another release I fooked and never wrote up. If you’re a fan, Siltskin is more than worth it, but don’t get your hopes up if it doesn’t meet all your expectations.

Disappointments o’ the Year

• Machine Head – UnatØNed – I dØN’t really knØW what to say abØUt UnatØNed that I haven’t said already. It’s a directiØNless collectiØN ØF “best hits”—that dØN’t hit at all—instead ØF a full-length release. Even if mØSt people have issues with the band’s entire discØG, yØU can’t deny that, at ØNe point, there was passion in Machine Head’s music. NØW, it’s all abØUt thØSe hit pieces that make it ØN year-end lists pulled by iTunes, SpØTify, and yØUr lØCal rØCk radiØ. Which makes me sad because I ØNce held sØMe respect for Flynn, but there are ØNly sØ many disappØIntments ØNe can take befØRe they have nØ chØIce but tØ mØVe ØN.

Songs o’ the Year

• Abigail Williams – “Talk to Your Sleep”

A Void Within Existence by Abigail Williams

• Abigail Williams – “No Less than Death”

A Void Within Existence by Abigail Williams

• In the Woods… – “Let Me Sing”

Otra by In The woods…

• Gaahls Wyrd – “Time and Timeless Timeline”

Braiding The Stories by Gaahls WYRD

To anyone who actually found 2025 to be a solid-to-great year, I envy you. For me, 2025 was one of the absolute worst years of my life. And that counts divorce and suicidal years. With many of you, it began with working my ass off to keep my job in these trying times of financial uncertainty—especially with AI rearing its ugly fucking head. Well, that’s before that bubble bursts and causes more issues than it did before. Then, after returning from a NYC work trip, my 19-year-old black devil, King, collapsed from liver failure, resulting in having to put down a feline friend I’ve raised since a kitten and who I had as my companion for nearly half my life. Jump ahead a few months and, out of the fucking blue, my father collapses in the yard, never to regain consciousness again. With months of heartbreak and stress coming down on my heart like a rain shower of titanium dildos, some professionals were convinced I suffered a literal heart attack. After months of tests and medications, it’s clear that age and stress have crept up on me. The result of all this shit led to one of the worst years of productivity in the sacred halls of Angry Metal Guy. So, I apologize to everyone for the lack of output, especially when 2025 was a solid-to-great year of metal releases. Hopefully, this list will suffice and provide a few killer records that the rest of the crew idiotically withheld.

I’d be lying if I said listening to music and writing reviews came easily to me this year. Hell, writing in general has been difficult to do, and I do it for a living. But the fun, creative elements of AMG have been lost to me for months, which is sad as hell because I know I have way more curse-word combinations flowing through my veins. Thankfully, the support of this group and my family has been fundamental to getting me back on a path to mental and physical health so I can feel somewhat like a normal person. Thankfully, keeping busy with editing/deleting other writers’ lists1 and putting together my elite one has brought back a touch of spark. While I will always be the grumpy Grier that everyone knows and loves hates, I do appreciate the support from the entire gang—being a part of this monster that AMG built, being belittled by Steel, being filthy with Kenny and Grymm, trolling Dolph, hating on Doom, annoying the Shark, and getting provocative gifts from Ferox—because it’s a surprisingly therapeutic experience. Which is kinda fucked up, now that I think about it…2

So, let’s raise a glass to this coming year and let’s hope it’s a 3.5/5.0 compared to this 0.5/5.0 one. And enjoy these awesome picks you ignored because some of these idiots colluded for analytics.

#ish. The Haunted // Songs of Last Resort – This selection surprised even me. Though I fucked up and ran out of time to review The Haunted’s newest opus, Songs of Last Resort, it regularly surfaced on my playlists and, in classic Grier fashion, secured my “ish” selection. If you’re new to a Grier list, I reserve my “ish” pick for those records I can’t put down. Though in most cases, these selections can legitimately be considered my eleventh pick. Regardless, Songs of Last Resort is a welcoming return to form that reminds me a lot of the band’s output during the period of One Kill Wonder and RevolveR. Sure, it helps that One Kill Wonder’s Marco Aro is back in the band, but this album’s flow is similar to those others. The longest track on the record clocks in at four-plus minutes, while the others come and go like a phantom sucker punching each time you arrive at a new landing on a creepy-ass staircase. After being set up perfectly with the addictive opening track, “Warhead,” the short, punchy “Death to the Crown” swings a left hook before the chonky bass-kicking “Bleeding Out” has you belting the chorus at the sky. Then, the whole thing drops into the mid-paced back-to-backers, “Labyrinth of Lies” and “Letters of Last Resort.” Come all The Haunted enthusiasts and let us rejoice.

#10. Sexmag // Sexorcyzm – SEXXXXXXXMAG!!!!! You all knew this was going to happen. But really, it makes perfect sense when you consider the influences these crazy Poles incorporate into their music. Bands like Bathory, Darkthrone, Slayer, and Mercyful Fate, to name a few. After years of demos and EPs, Sexmag finally released their first full-length under the ever-sexy name, Sexorcyzm. Even sexier are track names like “Inkubus,” “Sex z diabłem,” and “Psalm I – Intronizacja Szatana.” I don’t know what any of them mean, but they either have “sex” in the title or just sound sexy. But, in all seriousness, the band’s wild blend of black, death, and thrash influences makes this one of the funnest records of the year. The skill is impressive, the vocals are outlandishly ugly, and the album’s dynamics bring everything to life in the most pleasing and gross way. If you skipped on this album because you thought Grier was doing one of his assinine trolling fests, you are wrong, and you need to correct your sexiness.

#9. Vintersorg // Vattenkrafternas spel – While not the band’s best output in a long line of great albums, Vattenkrafternas spel is still one of the best Viking/folk metal records of 2025. Infusing the Vintersorg of old with the new, Vattenkrafternas spel sets out to capture the hearts of its entire fanbase in this meaty, hour-long journey through the band’s signature Viking, folk, and progressive landscapes. The production does wonders for the album when compared to past offerings that are as compressed as hard tack. Be it the blackened beauty of “Efter dis kommer dimma,” incorporating gorgeous, male and female clean vocals, or the folky “Malströmsbrus” with its Vintersorg yodeling and addictiveness, Vattenkrafternas spel pushes and pulls on those strings of yore to bring you something comfortable yet refreshing. That said, no Vintersorg record is complete without the outrageous key atmospheres so prevalent and unique to their sound. Songs like “Ur älv och å” and “Ödsliga salar” fulfill that urge, ensuring erections for this kind of key play remain hard and girthy.

#8. Bear Mace // Slaves of the Wolf – As many of you know, I am not a big death metal guy. I was at one point, but the predictability of the style, as it became trapped on endless repeat as old masters tried to remain relevant into the 00s, began to turn me off. That’s not uncommon for any other genre that had a heyday at one point in metal’s existence. The acceptance that lovers of the genre might surface and borrow shamelessly from previous groundbreakers has allowed me to enjoy what I once did. Bear Mace is just such a band that, every time I spin one of their releases, I’m transported back in time when Massacre, Bolt Thrower, and the like were fresh to my pubescent self. And this year’s Slaves of the Wolf sees Bear Mace punching it up to a new level and delivering crushing riff after crushing riff. I cannot deny that the nasty, relentless attacks of “Slaves of the Wolf,” “The Iceman Cometh,” and the back-to-back “Prophecy” and “Cancerous Winds” keep me coming back time and again. While all Bear Mace is macy, Slaves of the Wolf stands above the others and delivers big bear slaps. Or something like that.

#7. Gaahls Wyrd // Braiding the Stories – Regardless of whether you interpret “wyrd” as “weird” or “word,” both can be applied to Gaahls Wyrd’s sophomore outing, Braiding the Stories. Whether Gaahl’s words hit you harder than the band’s weird approach to atmospheres and influences is completely up to you. Be it captivating, moody numbers like the title track or the balls-to-the-walls “Time and Timeless Timeline,” Braiding the Stories has all a Gaahl fan could ever want. From low whispers to Gaahl’s terrifying shrieks, the moods captured on this record are stronger and far superior to anything the band has ever put together. It’s an unsettling disc that fucks around with track lengths, moods, and everything in between. At one point, you are cruising through a nearly nine-minute-long, atmoblack piece before being pummeled to death for three new minutes. Then, you’re chilling in two minutes of an ethereal nightmare before the hammering of drums comes down on your head like that of Mephorash. It’s a bewildering, disorienting experience that is so pleasing it should be illegal. Gaahl’s days atop the mighty Gorgoroth might be over, but Gaahl ain’t going anywhere yet.

#6. Mors Principium Est // Darkness Invisible – This one might be a surprise to many because Mors Principium Est’s last record, Liberate the Unborn Inhumanity, was not good. This was probably in part because Andy Gillion, the staple of the band since 2011, and the wizard that brought us the impressive guitar work of …And Death Said Live and Dawn of the 5th Era, left the fold. To make matters worse, Gillion dropped one hell of a killer record last year in the form of Exilium. Regardless of whether anyone agrees that Darkness Invisible is a return to form for MPE, it’s indeed far superior to its predecessor, and a record that has been haunting me since its release. Perhaps it’s the mood I’ve been in for the last few months that dragged Darkness Invisible, scratching and screaming, into my year-end list. Or maybe it’s because no matter what MPE releases, I’ll find something to love. For those who skipped it, check out the gorgeous female vocals of “All Life Is Evil” and the heart-wrenching melodeath of tracks like “Of Death” and “Summoning the Dark.”

#5. In the Woods… // Otra – In the Woods… have been around a long time in a lot of different iterations. Be it the coming and going of founders and bandmates, or the careless attitude of genre and sub-genre fuckery, this Norwegian outfit has worked tirelessly to cement both the lineup and the direction the band wants to be identified as in this new era. While 2022’s Diversum began the exploration of blending styles, this year’s Otra did far more to ensure the concrete begins to settle and cure. Tapping into their wide variation of influences, you can capture everything from Borknagar-esque progressions to the black ‘n’ roll character of Carpathian Forest and the low, doomy patterns of Type O Negative and A Vision Bleak. And, somehow, it all works—each song biting on the ass-end of its successor, forcing the music to flow in a pleasing, yet unlikely recordpede. It’s been a while since I felt that In the Woods… might have something worth getting excited about, but this new direction creates palpitations in my olde, black heart.

#4. Green Carnation // A Dark Poem, Part I: The Shores of Melancholia – Green Carnation has been a literal staple in my life for fuck knows how long. And each record has a place, mood, and time that work—regardless if it’s the wild choirs and orchestrations of Journey to the End of the Night, the one-track Light of Day, Day of Darkness, the goth-rock of A Blessing in Disguise, or the acoustic bliss of The Acoustic Verses. This Norwegian outfit has damn-near tried it all, and it works each time. But 2020’s Leaves of Yesteryear was a goddamn epic, and it’s hard to consider anything would be anywhere as strong. Sadly, A Dark Poem, Part I: The Shores of Melancholia is not as strong. Does that make it a bad album? Fuck no. That’s why it’s on my list. Like its predecessor, it’s engulfed in moods and textures that only Green Carnation can do. And with two more parts in sight for what can clearly be described as the beginning of something new, there’s a good chance these gents will be on even more Grier lists.

#3. Ars Moriendi // Leur esprit marche dans les ténèbres – No Grier list is complete without mention of the mighty Ars Moriendi. Though I dropped the ball when it came around for review, that didn’t stop me from spinning this record since its release in June. As with all Ars Moriendi releases, Arsonist continues to push his limits in everything from performances to songwriting and production. And Leur esprit marche dans les ténèbres is no different. Be it the engulfing atmospheres of the two-part “L’abbé de Monte-à-Regret,” the impressive bass work of the powerful “Trouver la fontaine,” or the heart-wrenching piano and clean vocals of “Puisqu’elle est éternelle,” this new record is a captivating display of progressive black metal prowess. Sprinkled throughout with electronic effects and hypnotizing sound bytes, Leur esprit marche dans les ténèbres is a full experience that cannot be disconnected or Spotified. To truly understand it, you must get lost in it.

#2. Abigail Williams // A Void Within Existence – I’ve been an Abigail Williams fan for a long time, but never has one of their albums hit me as hard as A Void Within Existence does. Combining elements of second-wave assaults, atmospheric black metal, and crushing sadness, this new record is perhaps the band’s best. While a couple of songs reach the heights of Song o’ the Year, not a single one is out of place. After the black metal pummeling that is “Life, Disconnected” and “Void Within,” “Talk to Your Sleep” stomps your ass straight into the ground, developing a nice interlude from the norm, and a headbangability that is unique to the band’s songwriting. When the album closes with “No Less than Death,” a clean-vocal performance sends me in a depressive spiral that I still haven’t recovered from. Ken Sorceron and co. have done it again, alternating between peaks and valleys of emotion that disrupt basic brain functions and leave me in an absolute pit of despair.

#1. Havukruunu // Tavastland – I don’t think there’s much more that I can say about Havukruunu that hasn’t been said before. For years, these fantastic Finns have been scratching that itch for old-school Bathory-core that is almost as good as the real fucking thing. And, for years, they’ve nestled gently into my year-end lists but never quite climbed over other incredible albums at the time. This year, things have changed. Tavastland is not only the best album of the year but arguably Havukruunu’s masterpiece. Incorporating every element of their sound into this near-perfect track list, you’ll experience everything from bludgeoning Bathory-meets-Immortal riffs, feel-good Viking plods, melodic passages, and seamless transitions that make repeat listens oh-so soothing. Not to mention, the tight performances and open production will have you gushing over Humö’s fantastic bass work. It’s a monstrous, lively, and energetic album that’s difficult to put down and never disappoints, regardless of whether you’re in the mood for pillaging unsuspecting villages or sitting on the beach with a daquery.

Honorable Mentions

• Lychgate // Precipice – I wish I had given this record more time. Instead, it had to be released in fucking December. Stop doing that! Regardless, this is a weird fucking record with a lot of balls and a lot of aggression that you plebs should listen to.
• Hazzerd // The 3rd Dimension – OK, hear me out. The 3rd Dimension is one of the best thrash records of the year, and you’re a poser if you disagree. With Death Angel-like vocals and Exodus-meets-Slayer riffage, all wrapped up in some impressive technicality, ya can’t go wrong with Hazzerd’s newest outing.
• Cradle of Filth // The Screaming of the Valkyries – I can’t deny it, The Screaming of the Valkyries is fucking good. So good that I can’t stop spinning it. With the help of new female vocal support, a new guitarist, and some killer, punchy tunes, this new record is an embedded thorn in my ass that I can’t locate or remove, no matter how I try.
• Them // Psychedelic Enigma – The story goes on, even when we all thought it was over after the NYC debacle known as Fear City. Looking to milk their characters and lyrical directions to death, Them is back with a new chapter in Psychedelic Enigma. Though it’s not as good as recent releases, it still helps my longing heart continue to beat in hopes of a new King Diamond record.
• Blood Red Throne // Siltskin – This was yet another release I fooked and never wrote up. If you’re a fan, Siltskin is more than worth it, but don’t get your hopes up if it doesn’t meet all your expectations.

Disappointments o’ the Year

• Machine Head – UnatØNed – I dØN’t really knØW what to say abØUt UnatØNed that I haven’t said already. It’s a directiØNless collectiØN ØF “best hits”—that dØN’t hit at all—instead ØF a full-length release. Even if mØSt people have issues with the band’s entire discØG, yØU can’t deny that, at ØNe point, there was passion in Machine Head’s music. NØW, it’s all abØUt thØSe hit pieces that make it ØN year-end lists pulled by iTunes, SpØTify, and yØUr lØCal rØCk radiØ. Which makes me sad because I ØNce held sØMe respect for Flynn, but there are ØNly sØ many disappØIntments ØNe can take befØRe they have nØ chØIce but tØ mØVe ØN.

Songs o’ the Year

• Abigail Williams – “Talk to Your Sleep”

A Void Within Existence by Abigail Williams

• Abigail Williams – “No Less than Death”

A Void Within Existence by Abigail Williams

• In the Woods… – “Let Me Sing”

Otra by In The woods…

• Gaahls Wyrd – “Time and Timeless Timeline”

Braiding The Stories by Gaahls WYRD

Visitant – Rubidium Review

By Owlswald

No matter if you’re a seasoned band or new to the game, choosing the right pre-release track is critical when kicking off PR for a new album. And in a crowded music scene, where everyone is fighting to make their mark, the challenge is even greater: can you leave a lasting impression in the first few minutes to make me want to keep listening? Pensacola, Florida’s Visitant did just that with “Starless,” the first single from their debut album, Rubidium. Taylor Tidwell’s (Unaligned) blackened riffing, the death-infused rhythms of drummer Anthony Lusk-Simone (Abiotic) and bassist Kilian Duarte (Abiotic, Scale the Summit), and the tormented shrieks of vocalist Chelsea Marrow (Voraath) grabbed me immediately, leading me to promptly snag the full promo from the bone pile. Intended to be a departure from the members’ other projects, Rubidium offers a visceral and harrowing descent into a hellish, otherworldly state driven by profound loss and torment.

Visitant blends their tech-death roots with the classic symphonic black metal sound to craft Rubidium’s spiritual aura. The record’s haunting mood is immediately apparent on “Unworldly,” which opens with a sinister orchestral passage that quickly gives way to a vicious miasma of Marrow’s icy rasps, Lusk-Simone’s malevolent blasts and Tidwell’s eerie leads. The progression is reminiscent of early Cradle of Filth and gets the album off to a strong start. The performances on Rubidium are solid across the board, with Visitant skillfully blending technical precision with raw feel. The dynamic interplay between Tidwell’s guitar and Lusk-Simone’s drums create a stylish balance. The two frequently push and pull, creating a dialogue that feels synchronized but also spontaneous. Marrow—who has lent her vocal talents to video games like Doom Eternal and Senua’s Saga: Hellblade II—contributes her versatility, conjuring vengeful spirits through an expressive séance of rasps and hoarse growls (“Fodder,” “Starless”), Gojira-encrusted hymns (“Rubidium,” “Briars”) and ethereal croons (“Moon Bathe,” “Envy’s Lament”). It’s evident she has great range, but her sparse use of her striking cleans is disappointing and could have been a game-changer for the group’s sound.

Rather than relying on the guitar to take center stage, Lusk-Simone’s technical drumming drives Visitant’s eldritch sound with powerful, forward-moving energy. His precision blasts, acrobatic fills and progressive rhythms imbue Rubidium with an aural restlessness, balancing Tidwell’s Opethian chords (“Rubidium,” “Unworldly”) and moody refrains. This creative reversal of a common metal paradigm—where guitars are the heart and soul—allows Lusk-Simone’s performance to shine. Nowhere is this more apparent than in the strongest three-song stretch—from “Starless” to “Fodder”—which are defined by Tidwell’s unnerving, bending milieus and proficient shredding that underpin Lusk-Simone’s explosive kit work. Noteworthy highlights include Lusk-Simone’s hard-hitting fills coupled with rapid-fire double bass and swing beats in “Fodder” or the title track’s memorable and heavy syncopated bridge where Lusk-Simone and Tidwell lock together perfectly before settling back into their respective roles.

But odd production choices unexpectedly hold back Rubidium’s strength. Despite Tidwell’s memorable and astute riffs, and a high DR score, the production often buries the guitars too far back in the mix. Consequently, this makes Tidwell’s playing feel muted and strips his guitar of its authority. I had to almost max out the mid-range EQ on my headphones to really hear Tidwell’s guitar work on tracks like “Briars” and “Otherworldly”—a frustrating outcome that’s impossible to overlook. At just thirty-two minutes, Rubidium also feels short, a feeling amplified by its closing instrumental, “Moon Bathe.” While the interlude has promising ideas and an interesting exotic flair, it’s over too quickly and feels underdeveloped.

Rubidium left me with a sense of anticipation rather than satisfaction, feeling less like a complete body of work and more like an intriguing blueprint for what’s to come. Still, when Visitant’s talents align—as they do on the album’s strongest tracks—the result is an unsettling and convincing blend of technicality and raw emotion. There’s no shortage of quality performances, and Rubidium has all the ingredients for a gripping album. By further refining their approach and leaning into their more bespoke qualities, Visitant is poised to deliver an album that builds on the considerable promise of this debut.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Exitus Stratagem Records
Websites: visitant1.bandcamp.com | facebook.com/visitantband
Releases Worldwide: August 22nd, 2025

#25 #2025 #Abiotic #AmericanMetalMetal #Aug25 #BlackMetal #BlackenedDeathMetal #CradleOfFilth #DeathMetal #ExitusStratagemRecords #Gojira #Opeth #Review #Reviews #Rubidium #ScaleTheSummit #Unaligned #Visitant #Voraath

Visitant – Rubidium Review

By Owlswald

No matter if you’re a seasoned band or new to the game, choosing the right pre-release track is critical when kicking off PR for a new album. And in a crowded music scene, where everyone is fighting to make their mark, the challenge is even greater: can you leave a lasting impression in the first few minutes to make me want to keep listening? Pensacola, Florida’s Visitant did just that with “Starless,” the first single from their debut album, Rubidium. Taylor Tidwell’s (Unaligned) blackened riffing, the death-infused rhythms of drummer Anthony Lusk-Simone (Abiotic) and bassist Kilian Duarte (Abiotic, Scale the Summit), and the tormented shrieks of vocalist Chelsea Marrow (Voraath) grabbed me immediately, leading me to promptly snag the full promo from the bone pile. Intended to be a departure from the members’ other projects, Rubidium offers a visceral and harrowing descent into a hellish, otherworldly state driven by profound loss and torment.

Visitant blends their tech-death roots with the classic symphonic black metal sound to craft Rubidium’s spiritual aura. The record’s haunting mood is immediately apparent on “Unworldly,” which opens with a sinister orchestral passage that quickly gives way to a vicious miasma of Marrow’s icy rasps, Lusk-Simone’s malevolent blasts and Tidwell’s eerie leads. The progression is reminiscent of early Cradle of Filth and gets the album off to a strong start. The performances on Rubidium are solid across the board, with Visitant skillfully blending technical precision with raw feel. The dynamic interplay between Tidwell’s guitar and Lusk-Simone’s drums create a stylish balance. The two frequently push and pull, creating a dialogue that feels synchronized but also spontaneous. Marrow—who has lent her vocal talents to video games like Doom Eternal and Senua’s Saga: Hellblade II—contributes her versatility, conjuring vengeful spirits through an expressive séance of rasps and hoarse growls (“Fodder,” “Starless”), Gojira-encrusted hymns (“Rubidium,” “Briars”) and ethereal croons (“Moon Bathe,” “Envy’s Lament”). It’s evident she has great range, but her sparse use of her striking cleans is disappointing and could have been a game-changer for the group’s sound.

Rather than relying on the guitar to take center stage, Lusk-Simone’s technical drumming drives Visitant’s eldritch sound with powerful, forward-moving energy. His precision blasts, acrobatic fills and progressive rhythms imbue Rubidium with an aural restlessness, balancing Tidwell’s Opethian chords (“Rubidium,” “Unworldly”) and moody refrains. This creative reversal of a common metal paradigm—where guitars are the heart and soul—allows Lusk-Simone’s performance to shine. Nowhere is this more apparent than in the strongest three-song stretch—from “Starless” to “Fodder”—which are defined by Tidwell’s unnerving, bending milieus and proficient shredding that underpin Lusk-Simone’s explosive kit work. Noteworthy highlights include Lusk-Simone’s hard-hitting fills coupled with rapid-fire double bass and swing beats in “Fodder” or the title track’s memorable and heavy syncopated bridge where Lusk-Simone and Tidwell lock together perfectly before settling back into their respective roles.

But odd production choices unexpectedly hold back Rubidium’s strength. Despite Tidwell’s memorable and astute riffs, and a high DR score, the production often buries the guitars too far back in the mix. Consequently, this makes Tidwell’s playing feel muted and strips his guitar of its authority. I had to almost max out the mid-range EQ on my headphones to really hear Tidwell’s guitar work on tracks like “Briars” and “Otherworldly”—a frustrating outcome that’s impossible to overlook. At just thirty-two minutes, Rubidium also feels short, a feeling amplified by its closing instrumental, “Moon Bathe.” While the interlude has promising ideas and an interesting exotic flair, it’s over too quickly and feels underdeveloped.

Rubidium left me with a sense of anticipation rather than satisfaction, feeling less like a complete body of work and more like an intriguing blueprint for what’s to come. Still, when Visitant’s talents align—as they do on the album’s strongest tracks—the result is an unsettling and convincing blend of technicality and raw emotion. There’s no shortage of quality performances, and Rubidium has all the ingredients for a gripping album. By further refining their approach and leaning into their more bespoke qualities, Visitant is poised to deliver an album that builds on the considerable promise of this debut.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Exitus Stratagem Records
Websites: visitant1.bandcamp.com | facebook.com/visitantband
Releases Worldwide: August 22nd, 2025

#25 #2025 #Abiotic #AmericanMetalMetal #Aug25 #BlackMetal #BlackenedDeathMetal #CradleOfFilth #DeathMetal #ExitusStratagemRecords #Gojira #Opeth #Review #Reviews #Rubidium #ScaleTheSummit #Unaligned #Visitant #Voraath

Visitant – Rubidium Review

By Owlswald

No matter if you’re a seasoned band or new to the game, choosing the right pre-release track is critical when kicking off PR for a new album. And in a crowded music scene, where everyone is fighting to make their mark, the challenge is even greater: can you leave a lasting impression in the first few minutes to make me want to keep listening? Pensacola, Florida’s Visitant did just that with “Starless,” the first single from their debut album, Rubidium. Taylor Tidwell’s (Unaligned) blackened riffing, the death-infused rhythms of drummer Anthony Lusk-Simone (Abiotic) and bassist Kilian Duarte (Abiotic, Scale the Summit), and the tormented shrieks of vocalist Chelsea Marrow (Voraath) grabbed me immediately, leading me to promptly snag the full promo from the bone pile. Intended to be a departure from the members’ other projects, Rubidium offers a visceral and harrowing descent into a hellish, otherworldly state driven by profound loss and torment.

Visitant blends their tech-death roots with the classic symphonic black metal sound to craft Rubidium’s spiritual aura. The record’s haunting mood is immediately apparent on “Unworldly,” which opens with a sinister orchestral passage that quickly gives way to a vicious miasma of Marrow’s icy rasps, Lusk-Simone’s malevolent blasts and Tidwell’s eerie leads. The progression is reminiscent of early Cradle of Filth and gets the album off to a strong start. The performances on Rubidium are solid across the board, with Visitant skillfully blending technical precision with raw feel. The dynamic interplay between Tidwell’s guitar and Lusk-Simone’s drums create a stylish balance. The two frequently push and pull, creating a dialogue that feels synchronized but also spontaneous. Marrow—who has lent her vocal talents to video games like Doom Eternal and Senua’s Saga: Hellblade II—contributes her versatility, conjuring vengeful spirits through an expressive séance of rasps and hoarse growls (“Fodder,” “Starless”), Gojira-encrusted hymns (“Rubidium,” “Briars”) and ethereal croons (“Moon Bathe,” “Envy’s Lament”). It’s evident she has great range, but her sparse use of her striking cleans is disappointing and could have been a game-changer for the group’s sound.

Rather than relying on the guitar to take center stage, Lusk-Simone’s technical drumming drives Visitant’s eldritch sound with powerful, forward-moving energy. His precision blasts, acrobatic fills and progressive rhythms imbue Rubidium with an aural restlessness, balancing Tidwell’s Opethian chords (“Rubidium,” “Unworldly”) and moody refrains. This creative reversal of a common metal paradigm—where guitars are the heart and soul—allows Lusk-Simone’s performance to shine. Nowhere is this more apparent than in the strongest three-song stretch—from “Starless” to “Fodder”—which are defined by Tidwell’s unnerving, bending milieus and proficient shredding that underpin Lusk-Simone’s explosive kit work. Noteworthy highlights include Lusk-Simone’s hard-hitting fills coupled with rapid-fire double bass and swing beats in “Fodder” or the title track’s memorable and heavy syncopated bridge where Lusk-Simone and Tidwell lock together perfectly before settling back into their respective roles.

But odd production choices unexpectedly hold back Rubidium’s strength. Despite Tidwell’s memorable and astute riffs, and a high DR score, the production often buries the guitars too far back in the mix. Consequently, this makes Tidwell’s playing feel muted and strips his guitar of its authority. I had to almost max out the mid-range EQ on my headphones to really hear Tidwell’s guitar work on tracks like “Briars” and “Otherworldly”—a frustrating outcome that’s impossible to overlook. At just thirty-two minutes, Rubidium also feels short, a feeling amplified by its closing instrumental, “Moon Bathe.” While the interlude has promising ideas and an interesting exotic flair, it’s over too quickly and feels underdeveloped.

Rubidium left me with a sense of anticipation rather than satisfaction, feeling less like a complete body of work and more like an intriguing blueprint for what’s to come. Still, when Visitant’s talents align—as they do on the album’s strongest tracks—the result is an unsettling and convincing blend of technicality and raw emotion. There’s no shortage of quality performances, and Rubidium has all the ingredients for a gripping album. By further refining their approach and leaning into their more bespoke qualities, Visitant is poised to deliver an album that builds on the considerable promise of this debut.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Exitus Stratagem Records
Websites: visitant1.bandcamp.com | facebook.com/visitantband
Releases Worldwide: August 22nd, 2025

#25 #2025 #Abiotic #AmericanMetalMetal #Aug25 #BlackMetal #BlackenedDeathMetal #CradleOfFilth #DeathMetal #ExitusStratagemRecords #Gojira #Opeth #Review #Reviews #Rubidium #ScaleTheSummit #Unaligned #Visitant #Voraath

Visitant – Rubidium Review

By Owlswald

No matter if you’re a seasoned band or new to the game, choosing the right pre-release track is critical when kicking off PR for a new album. And in a crowded music scene, where everyone is fighting to make their mark, the challenge is even greater: can you leave a lasting impression in the first few minutes to make me want to keep listening? Pensacola, Florida’s Visitant did just that with “Starless,” the first single from their debut album, Rubidium. Taylor Tidwell’s (Unaligned) blackened riffing, the death-infused rhythms of drummer Anthony Lusk-Simone (Abiotic) and bassist Kilian Duarte (Abiotic, Scale the Summit), and the tormented shrieks of vocalist Chelsea Marrow (Voraath) grabbed me immediately, leading me to promptly snag the full promo from the bone pile. Intended to be a departure from the members’ other projects, Rubidium offers a visceral and harrowing descent into a hellish, otherworldly state driven by profound loss and torment.

Visitant blends their tech-death roots with the classic symphonic black metal sound to craft Rubidium’s spiritual aura. The record’s haunting mood is immediately apparent on “Unworldly,” which opens with a sinister orchestral passage that quickly gives way to a vicious miasma of Marrow’s icy rasps, Lusk-Simone’s malevolent blasts and Tidwell’s eerie leads. The progression is reminiscent of early Cradle of Filth and gets the album off to a strong start. The performances on Rubidium are solid across the board, with Visitant skillfully blending technical precision with raw feel. The dynamic interplay between Tidwell’s guitar and Lusk-Simone’s drums create a stylish balance. The two frequently push and pull, creating a dialogue that feels synchronized but also spontaneous. Marrow—who has lent her vocal talents to video games like Doom Eternal and Senua’s Saga: Hellblade II—contributes her versatility, conjuring vengeful spirits through an expressive séance of rasps and hoarse growls (“Fodder,” “Starless”), Gojira-encrusted hymns (“Rubidium,” “Briars”) and ethereal croons (“Moon Bathe,” “Envy’s Lament”). It’s evident she has great range, but her sparse use of her striking cleans is disappointing and could have been a game-changer for the group’s sound.

Rather than relying on the guitar to take center stage, Lusk-Simone’s technical drumming drives Visitant’s eldritch sound with powerful, forward-moving energy. His precision blasts, acrobatic fills and progressive rhythms imbue Rubidium with an aural restlessness, balancing Tidwell’s Opethian chords (“Rubidium,” “Unworldly”) and moody refrains. This creative reversal of a common metal paradigm—where guitars are the heart and soul—allows Lusk-Simone’s performance to shine. Nowhere is this more apparent than in the strongest three-song stretch—from “Starless” to “Fodder”—which are defined by Tidwell’s unnerving, bending milieus and proficient shredding that underpin Lusk-Simone’s explosive kit work. Noteworthy highlights include Lusk-Simone’s hard-hitting fills coupled with rapid-fire double bass and swing beats in “Fodder” or the title track’s memorable and heavy syncopated bridge where Lusk-Simone and Tidwell lock together perfectly before settling back into their respective roles.

But odd production choices unexpectedly hold back Rubidium’s strength. Despite Tidwell’s memorable and astute riffs, and a high DR score, the production often buries the guitars too far back in the mix. Consequently, this makes Tidwell’s playing feel muted and strips his guitar of its authority. I had to almost max out the mid-range EQ on my headphones to really hear Tidwell’s guitar work on tracks like “Briars” and “Otherworldly”—a frustrating outcome that’s impossible to overlook. At just thirty-two minutes, Rubidium also feels short, a feeling amplified by its closing instrumental, “Moon Bathe.” While the interlude has promising ideas and an interesting exotic flair, it’s over too quickly and feels underdeveloped.

Rubidium left me with a sense of anticipation rather than satisfaction, feeling less like a complete body of work and more like an intriguing blueprint for what’s to come. Still, when Visitant’s talents align—as they do on the album’s strongest tracks—the result is an unsettling and convincing blend of technicality and raw emotion. There’s no shortage of quality performances, and Rubidium has all the ingredients for a gripping album. By further refining their approach and leaning into their more bespoke qualities, Visitant is poised to deliver an album that builds on the considerable promise of this debut.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Exitus Stratagem Records
Websites: visitant1.bandcamp.com | facebook.com/visitantband
Releases Worldwide: August 22nd, 2025

#25 #2025 #Abiotic #AmericanMetalMetal #Aug25 #BlackMetal #BlackenedDeathMetal #CradleOfFilth #DeathMetal #ExitusStratagemRecords #Gojira #Opeth #Review #Reviews #Rubidium #ScaleTheSummit #Unaligned #Visitant #Voraath

Visitant – Rubidium Review

By Owlswald

No matter if you’re a seasoned band or new to the game, choosing the right pre-release track is critical when kicking off PR for a new album. And in a crowded music scene, where everyone is fighting to make their mark, the challenge is even greater: can you leave a lasting impression in the first few minutes to make me want to keep listening? Pensacola, Florida’s Visitant did just that with “Starless,” the first single from their debut album, Rubidium. Taylor Tidwell’s (Unaligned) blackened riffing, the death-infused rhythms of drummer Anthony Lusk-Simone (Abiotic) and bassist Kilian Duarte (Abiotic, Scale the Summit), and the tormented shrieks of vocalist Chelsea Marrow (Voraath) grabbed me immediately, leading me to promptly snag the full promo from the bone pile. Intended to be a departure from the members’ other projects, Rubidium offers a visceral and harrowing descent into a hellish, otherworldly state driven by profound loss and torment.

Visitant blends their tech-death roots with the classic symphonic black metal sound to craft Rubidium’s spiritual aura. The record’s haunting mood is immediately apparent on “Unworldly,” which opens with a sinister orchestral passage that quickly gives way to a vicious miasma of Marrow’s icy rasps, Lusk-Simone’s malevolent blasts and Tidwell’s eerie leads. The progression is reminiscent of early Cradle of Filth and gets the album off to a strong start. The performances on Rubidium are solid across the board, with Visitant skillfully blending technical precision with raw feel. The dynamic interplay between Tidwell’s guitar and Lusk-Simone’s drums create a stylish balance. The two frequently push and pull, creating a dialogue that feels synchronized but also spontaneous. Marrow—who has lent her vocal talents to video games like Doom Eternal and Senua’s Saga: Hellblade II—contributes her versatility, conjuring vengeful spirits through an expressive séance of rasps and hoarse growls (“Fodder,” “Starless”), Gojira-encrusted hymns (“Rubidium,” “Briars”) and ethereal croons (“Moon Bathe,” “Envy’s Lament”). It’s evident she has great range, but her sparse use of her striking cleans is disappointing and could have been a game-changer for the group’s sound.

Rather than relying on the guitar to take center stage, Lusk-Simone’s technical drumming drives Visitant’s eldritch sound with powerful, forward-moving energy. His precision blasts, acrobatic fills and progressive rhythms imbue Rubidium with an aural restlessness, balancing Tidwell’s Opethian chords (“Rubidium,” “Unworldly”) and moody refrains. This creative reversal of a common metal paradigm—where guitars are the heart and soul—allows Lusk-Simone’s performance to shine. Nowhere is this more apparent than in the strongest three-song stretch—from “Starless” to “Fodder”—which are defined by Tidwell’s unnerving, bending milieus and proficient shredding that underpin Lusk-Simone’s explosive kit work. Noteworthy highlights include Lusk-Simone’s hard-hitting fills coupled with rapid-fire double bass and swing beats in “Fodder” or the title track’s memorable and heavy syncopated bridge where Lusk-Simone and Tidwell lock together perfectly before settling back into their respective roles.

But odd production choices unexpectedly hold back Rubidium’s strength. Despite Tidwell’s memorable and astute riffs, and a high DR score, the production often buries the guitars too far back in the mix. Consequently, this makes Tidwell’s playing feel muted and strips his guitar of its authority. I had to almost max out the mid-range EQ on my headphones to really hear Tidwell’s guitar work on tracks like “Briars” and “Otherworldly”—a frustrating outcome that’s impossible to overlook. At just thirty-two minutes, Rubidium also feels short, a feeling amplified by its closing instrumental, “Moon Bathe.” While the interlude has promising ideas and an interesting exotic flair, it’s over too quickly and feels underdeveloped.

Rubidium left me with a sense of anticipation rather than satisfaction, feeling less like a complete body of work and more like an intriguing blueprint for what’s to come. Still, when Visitant’s talents align—as they do on the album’s strongest tracks—the result is an unsettling and convincing blend of technicality and raw emotion. There’s no shortage of quality performances, and Rubidium has all the ingredients for a gripping album. By further refining their approach and leaning into their more bespoke qualities, Visitant is poised to deliver an album that builds on the considerable promise of this debut.

Rating: Mixed
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Exitus Stratagem Records
Websites: visitant1.bandcamp.com | facebook.com/visitantband
Releases Worldwide: August 22nd, 2025

#25 #2025 #Abiotic #AmericanMetalMetal #Aug25 #BlackMetal #BlackenedDeathMetal #CradleOfFilth #DeathMetal #ExitusStratagemRecords #Gojira #Opeth #Review #Reviews #Rubidium #ScaleTheSummit #Unaligned #Visitant #Voraath

New & Noteworthy: The Screaming Of The Releases 3/21/2025:

#NewAndNoteworthy #MarchReleases #CradleOfFilth #Bloodywood #PopEvil

Link: https://metalinsider.net/columns/new-noteworthy-columns/new-noteworthy-the-screaming-of-the-releases-3-21-2025

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 September 22nd, 2024🤘
PILEDRIVER, RIOT, DAVID COVERDALE, JOAN JETT, BULLETBOYS, ALICE COOPER, EXTREME, KISS

https://bravewords.com/news/today-in-metal-history-september-22nd-2024-piledriver-riot-david-coverdale-joan-jett-bulletboys-alice-cooper-extreme-kiss

May include AI-generated content.

#Piledriver #Riot #DavidCoverdale #JoanJett #AliceCooper #Extreme #KISS #Whitesnake #Yes #SonataArctica #AmonAmarth #ChildrenOfBodom #DespisedIcon #EchoesOfEternity #FiveFingerDeathPunch #Skindred #Archspire #ChelseaWolfe #Counterparts #CradleOfFilth

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 September 22nd, 2024🤘
PILEDRIVER, RIOT, DAVID COVERDALE, JOAN JETT, BULLETBOYS, ALICE COOPER, EXTREME, KISS

https://bravewords.com/news/today-in-metal-history-september-22nd-2024-piledriver-riot-david-coverdale-joan-jett-bulletboys-alice-cooper-extreme-kiss

May include AI-generated content.

#Piledriver #Riot #DavidCoverdale #JoanJett #AliceCooper #Extreme #KISS #Whitesnake #Yes #SonataArctica #AmonAmarth #ChildrenOfBodom #DespisedIcon #EchoesOfEternity #FiveFingerDeathPunch #Skindred #Archspire #ChelseaWolfe #Counterparts #CradleOfFilth

Wraithfyre – Of Fell Peaks and Haunted Chasms Review

By Dear Hollow

Not that I’m the biggest symphonic black aficionado out there, but the UK-based Wraithfyre appealed to me because its name and inconsistent uses of i’s and y’s reflected my band in high school.1 Regardless, like some of atmoblack’s more ancient conjurations, I’ve always felt like symphonic black a la Limbonic Art, Vordven, and Cult of Fire embody more extreme versions of their trve and pvrist second-wave counterparts, a direct antithesis to the more mainstream antics of Dimmu Borgir and Cradle of Filth. Wraithfyre professes likewise an icy blast of black metal.

A project from Tom O’Dell, mastermind behind the Tolkien-inspired black metal of Dwarrowdelf and instrumental deathgrind Gimli, Son of Glóin, as well as the power metalling Battle Born, Wraithfyre offers a different, decidedly second-wave attack. While too often symphonic black metal sees its cold and icy buried beneath the bombast of keys and choirs, debut Of Fell Peaks and Haunted Chasms is no stranger to the riff. Instead utilizing macabre atmosphere as a flourish to its viciousness, O’Dell puts thorny riffs and scathing melodic lines upon the pedestal with its keys as the supporting cast. While it periodically struggles with memorability, Wraithfyre offers an obscenely entertaining debut.

You would be forgiven to believe that intro “A Lunar Descent” sets the tone for sprawling symphonic decadence. Wraithfyre kicks the gate open with icy blast with “Fallen Before Their Blazing Altar,” whose intensity is well-matched with its memorable central melody that straddles memorability and iciness in equal measure, keys supplementing the riffs. This trend continues into the juxtaposition of bouncy tremolo and aggressive plodding of “Queen of the Blighted Throne” and “Eternal Pyres from Beyond the Void,” the instrumental-focused exploration of “Infernal Heresy,” and the blastbeat-dominated intensity and chuggy riffs of “Echoes of a Forgotten Dream.” Moods of desperation, horror, and aggression are offered with seamless fluidity atop scathing tremolo, while edged riffs anchor the sound beyond mindless second-wave blasting. Of Fell Peaks and Haunted Chasms is raw and intense, recalling a tasteful fusion of black metal’s lo-fi history and the more modern thrash-infused incarnations of The Infernal Sea or Toxic Holocaust.

While there is plenty killer aboard the summit Of Fell Peaks, Wraithfyre concocts unfortunate filler. While the instrumental explorations of “Infernal Heresy” and “Eternal Pyres from Beyond the Void” are mile markers along the spooky journey, tracks “Ablaze in Abyssal Frosts” blurs into the scenery while closer “Dark Souls Devoured” features a slightly wonky melody that questions its integrity, even if its plodding riffs feel emotive and powerful. That said, with very few blights, Of Fell Peaks feels safely constructed – while it never explicitly fails, its safety ensures its ambition is also kept in check. While featuring that signature vampiric sound, O’Dell has infused in it a thrashy riffage approach that won’t change your mind about either style. It also doesn’t mean to, with this debut being a fun romp but little else.

Everything about Wraithfyre feels fun. It wraps you in its logic and sweeps you to a place more reminiscent of Scooby-Doo than the depravity of men’s hearts, kicking you repeatedly in the nuts until you like it. It features a tasteful blend of keys and riffs, with the former the supporting cast rather than the decadent self-indulgence found too often in the style. Of Fell Peaks and Haunted Chasms is also another installment of bulletproof songwriting offered by Tom O’Dell, although nearly everything about Wraithfyre feels like a side project in its frolicking intensity. However, featuring flashy musicianship, tasteful atmosphere, and powerful songwriting, it enhances second-wave iciness in bombastic fashion. I dare you to listen to Of Fell Peaks and Haunted Chasms and not have a good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturemacht Productions
Website: wraithfyre.bandcamp.com
Releases Worldwide: July 26th, 2024

#2024 #35 #BattleBorn #BlackMetal #BlackenedThrashMetal #BritishMetal #CradleOfFilth #CultOfFire #DimmuBorgir #Dwarrowdelf #GimliSonOfGlóin #Jul24 #LimbonicArt #OfFellPeaksAndHauntedChasms #Review #Reviews #SymphonicBlackMetal #TheInfernalSea #ToxicHolocaust #Vordven #Wraithfyre

Wraithfyre – Of Fell Peaks and Haunted Chasms Review

By Dear Hollow

Not that I’m the biggest symphonic black aficionado out there, but the UK-based Wraithfyre appealed to me because its name and inconsistent uses of i’s and y’s reflected my band in high school.1 Regardless, like some of atmoblack’s more ancient conjurations, I’ve always felt like symphonic black a la Limbonic Art, Vordven, and Cult of Fire embody more extreme versions of their trve and pvrist second-wave counterparts, a direct antithesis to the more mainstream antics of Dimmu Borgir and Cradle of Filth. Wraithfyre professes likewise an icy blast of black metal.

A project from Tom O’Dell, mastermind behind the Tolkien-inspired black metal of Dwarrowdelf and instrumental deathgrind Gimli, Son of Glóin, as well as the power metalling Battle Born, Wraithfyre offers a different, decidedly second-wave attack. While too often symphonic black metal sees its cold and icy buried beneath the bombast of keys and choirs, debut Of Fell Peaks and Haunted Chasms is no stranger to the riff. Instead utilizing macabre atmosphere as a flourish to its viciousness, O’Dell puts thorny riffs and scathing melodic lines upon the pedestal with its keys as the supporting cast. While it periodically struggles with memorability, Wraithfyre offers an obscenely entertaining debut.

You would be forgiven to believe that intro “A Lunar Descent” sets the tone for sprawling symphonic decadence. Wraithfyre kicks the gate open with icy blast with “Fallen Before Their Blazing Altar,” whose intensity is well-matched with its memorable central melody that straddles memorability and iciness in equal measure, keys supplementing the riffs. This trend continues into the juxtaposition of bouncy tremolo and aggressive plodding of “Queen of the Blighted Throne” and “Eternal Pyres from Beyond the Void,” the instrumental-focused exploration of “Infernal Heresy,” and the blastbeat-dominated intensity and chuggy riffs of “Echoes of a Forgotten Dream.” Moods of desperation, horror, and aggression are offered with seamless fluidity atop scathing tremolo, while edged riffs anchor the sound beyond mindless second-wave blasting. Of Fell Peaks and Haunted Chasms is raw and intense, recalling a tasteful fusion of black metal’s lo-fi history and the more modern thrash-infused incarnations of The Infernal Sea or Toxic Holocaust.

While there is plenty killer aboard the summit Of Fell Peaks, Wraithfyre concocts unfortunate filler. While the instrumental explorations of “Infernal Heresy” and “Eternal Pyres from Beyond the Void” are mile markers along the spooky journey, tracks “Ablaze in Abyssal Frosts” blurs into the scenery while closer “Dark Souls Devoured” features a slightly wonky melody that questions its integrity, even if its plodding riffs feel emotive and powerful. That said, with very few blights, Of Fell Peaks feels safely constructed – while it never explicitly fails, its safety ensures its ambition is also kept in check. While featuring that signature vampiric sound, O’Dell has infused in it a thrashy riffage approach that won’t change your mind about either style. It also doesn’t mean to, with this debut being a fun romp but little else.

Everything about Wraithfyre feels fun. It wraps you in its logic and sweeps you to a place more reminiscent of Scooby-Doo than the depravity of men’s hearts, kicking you repeatedly in the nuts until you like it. It features a tasteful blend of keys and riffs, with the former the supporting cast rather than the decadent self-indulgence found too often in the style. Of Fell Peaks and Haunted Chasms is also another installment of bulletproof songwriting offered by Tom O’Dell, although nearly everything about Wraithfyre feels like a side project in its frolicking intensity. However, featuring flashy musicianship, tasteful atmosphere, and powerful songwriting, it enhances second-wave iciness in bombastic fashion. I dare you to listen to Of Fell Peaks and Haunted Chasms and not have a good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturemacht Productions
Website: wraithfyre.bandcamp.com
Releases Worldwide: July 26th, 2024

#2024 #35 #BattleBorn #BlackMetal #BlackenedThrashMetal #BritishMetal #CradleOfFilth #CultOfFire #DimmuBorgir #Dwarrowdelf #GimliSonOfGlóin #Jul24 #LimbonicArt #OfFellPeaksAndHauntedChasms #Review #Reviews #SymphonicBlackMetal #TheInfernalSea #ToxicHolocaust #Vordven #Wraithfyre

Wraithfyre – Of Fell Peaks and Haunted Chasms Review

By Dear Hollow

Not that I’m the biggest symphonic black aficionado out there, but the UK-based Wraithfyre appealed to me because its name and inconsistent uses of i’s and y’s reflected my band in high school.1 Regardless, like some of atmoblack’s more ancient conjurations, I’ve always felt like symphonic black a la Limbonic Art, Vordven, and Cult of Fire embody more extreme versions of their trve and pvrist second-wave counterparts, a direct antithesis to the more mainstream antics of Dimmu Borgir and Cradle of Filth. Wraithfyre professes likewise an icy blast of black metal.

A project from Tom O’Dell, mastermind behind the Tolkien-inspired black metal of Dwarrowdelf and instrumental deathgrind Gimli, Son of Glóin, as well as the power metalling Battle Born, Wraithfyre offers a different, decidedly second-wave attack. While too often symphonic black metal sees its cold and icy buried beneath the bombast of keys and choirs, debut Of Fell Peaks and Haunted Chasms is no stranger to the riff. Instead utilizing macabre atmosphere as a flourish to its viciousness, O’Dell puts thorny riffs and scathing melodic lines upon the pedestal with its keys as the supporting cast. While it periodically struggles with memorability, Wraithfyre offers an obscenely entertaining debut.

You would be forgiven to believe that intro “A Lunar Descent” sets the tone for sprawling symphonic decadence. Wraithfyre kicks the gate open with icy blast with “Fallen Before Their Blazing Altar,” whose intensity is well-matched with its memorable central melody that straddles memorability and iciness in equal measure, keys supplementing the riffs. This trend continues into the juxtaposition of bouncy tremolo and aggressive plodding of “Queen of the Blighted Throne” and “Eternal Pyres from Beyond the Void,” the instrumental-focused exploration of “Infernal Heresy,” and the blastbeat-dominated intensity and chuggy riffs of “Echoes of a Forgotten Dream.” Moods of desperation, horror, and aggression are offered with seamless fluidity atop scathing tremolo, while edged riffs anchor the sound beyond mindless second-wave blasting. Of Fell Peaks and Haunted Chasms is raw and intense, recalling a tasteful fusion of black metal’s lo-fi history and the more modern thrash-infused incarnations of The Infernal Sea or Toxic Holocaust.

While there is plenty killer aboard the summit Of Fell Peaks, Wraithfyre concocts unfortunate filler. While the instrumental explorations of “Infernal Heresy” and “Eternal Pyres from Beyond the Void” are mile markers along the spooky journey, tracks “Ablaze in Abyssal Frosts” blurs into the scenery while closer “Dark Souls Devoured” features a slightly wonky melody that questions its integrity, even if its plodding riffs feel emotive and powerful. That said, with very few blights, Of Fell Peaks feels safely constructed – while it never explicitly fails, its safety ensures its ambition is also kept in check. While featuring that signature vampiric sound, O’Dell has infused in it a thrashy riffage approach that won’t change your mind about either style. It also doesn’t mean to, with this debut being a fun romp but little else.

Everything about Wraithfyre feels fun. It wraps you in its logic and sweeps you to a place more reminiscent of Scooby-Doo than the depravity of men’s hearts, kicking you repeatedly in the nuts until you like it. It features a tasteful blend of keys and riffs, with the former the supporting cast rather than the decadent self-indulgence found too often in the style. Of Fell Peaks and Haunted Chasms is also another installment of bulletproof songwriting offered by Tom O’Dell, although nearly everything about Wraithfyre feels like a side project in its frolicking intensity. However, featuring flashy musicianship, tasteful atmosphere, and powerful songwriting, it enhances second-wave iciness in bombastic fashion. I dare you to listen to Of Fell Peaks and Haunted Chasms and not have a good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Naturemacht Productions
Website: wraithfyre.bandcamp.com
Releases Worldwide: July 26th, 2024

#2024 #35 #BattleBorn #BlackMetal #BlackenedThrashMetal #BritishMetal #CradleOfFilth #CultOfFire #DimmuBorgir #Dwarrowdelf #GimliSonOfGlóin #Jul24 #LimbonicArt #OfFellPeaksAndHauntedChasms #Review #Reviews #SymphonicBlackMetal #TheInfernalSea #ToxicHolocaust #Vordven #Wraithfyre

Let's share some #photography highlights of 2023 🥰

🖤 #Leprous at #TivoliVredenburg
🖤 #EinarSolberg (solo) at #Effenaar
🖤 Daniel Firth of #CradleofFilth at #IntoTheGrave
.
.
.
Pics by me :)

#utrecht #photographer
#metalhead #concert #nederland #sonyalpha #sethpicturesmusic #sethabrikoos

🤘✌️

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#BraveWords
LINDSAY SCHOOLCRAFT Talks Solo Career And CRADLE OF FILTH In New Career-Spanning Video Interview
The Art Of Metal has shared a career-spanning video featuring former Cradle Of Filth keyboardist / backing vocalist Lindsay Schoolcraft. Check it out below. "Lindsay is a Juno nominated, multi-instrumentalist...

https://bravewords.com/news/lindsay-schoolcraft-talks-solo-career-and-cradle-of-filth-in-new-career-spanning-video-interview

#LindsaySchoolcraft #SoloCareer #COF #Bravewords #MetalMeltdown #TracksFromTheCrypt #Martyrs #CradleOfFilth #VideoInterview

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#BraveWords
LINDSAY SCHOOLCRAFT Talks Solo Career And CRADLE OF FILTH In New Career-Spanning Video Interview
The Art Of Metal has shared a career-spanning video featuring former Cradle Of Filth keyboardist / backing vocalist Lindsay Schoolcraft. Check it out below. "Lindsay is a Juno nominated, multi-instrumentalist...

https://bravewords.com/news/lindsay-schoolcraft-talks-solo-career-and-cradle-of-filth-in-new-career-spanning-video-interview

#LindsaySchoolcraft #SoloCareer #COF #Bravewords #MetalMeltdown #TracksFromTheCrypt #Martyrs #CradleOfFilth #VideoInterview

#TheMetalDogArticleList
#BraveWords
LINDSAY SCHOOLCRAFT Talks Solo Career And CRADLE OF FILTH In New Career-Spanning Video Interview
The Art Of Metal has shared a career-spanning video featuring former Cradle Of Filth keyboardist / backing vocalist Lindsay Schoolcraft. Check it out below. "Lindsay is a Juno nominated, multi-instrumentalist...

https://bravewords.com/news/lindsay-schoolcraft-talks-solo-career-and-cradle-of-filth-in-new-career-spanning-video-interview

#LindsaySchoolcraft #SoloCareer #COF #Bravewords #MetalMeltdown #TracksFromTheCrypt #Martyrs #CradleOfFilth #VideoInterview

#TheMetalDogArticleList
#BraveWords
LINDSAY SCHOOLCRAFT Talks Solo Career And CRADLE OF FILTH In New Career-Spanning Video Interview
The Art Of Metal has shared a career-spanning video featuring former Cradle Of Filth keyboardist / backing vocalist Lindsay Schoolcraft. Check it out below. "Lindsay is a Juno nominated, multi-instrumentalist...

https://bravewords.com/news/lindsay-schoolcraft-talks-solo-career-and-cradle-of-filth-in-new-career-spanning-video-interview

#LindsaySchoolcraft #SoloCareer #COF #Bravewords #MetalMeltdown #TracksFromTheCrypt #Martyrs #CradleOfFilth #VideoInterview