#disembowelment — Public Fediverse posts

There are few concepts in the Western tradition as misunderstood as that of “the death of God.” It is not a triumphant proclamation, nor a call for apathetic nihilism. What has been coined in recent online discourse as a ‘meaning crisis’ is only barely getting the point. The Loss of Transcendence—some universal, ultimate, mind-independent Truth and set of values—is a beginning, an event that should prompt critical thought and action and confrontation of a human condition that we sedate ourselves out of with belief in a higher power or sense and reason in the universe; hope; or the rescinding of responsibility to the idea that ‘nothing matters.12 The Great Observer seem to have done their homework for the most part, with their debut channeling their thrashy blackened death into a philosophical call to action that blends Existentialism with Stoicism and Epicureanism. Fresh on the scene and immediately going all-in in aggression and storytelling, what can The Great Observer give to us?

On the face of it, Loss of Transcendence is standard black/death/thrash, with a rotating emphasis on each of those three components. Sticking primarily to up-tempo, gritty riffing in a vein somewhere between Necrophobic, Tomb Mold, and Morbid Angel—though a less flashy iteration—The Great Observer do nonetheless find time to linger in some cavernousness that vaguely recalls Disembowelment. They further emphasise their mean streak with a pervasive vocal echo that adds to the grime of the throaty howls and is compounded during the many instances when such vocals are multi-tracked or delivered as a group. But not all of this energy is used in service of evil; there’s a strong anthemic side to these choruses and a jaunty bombast to many a beat. In many ways, it gives off the aura of classical extreme metal—back when Black Metal was an album title, and ugliness, speed, and aggression were the name of the game in a fundamentally different way to how they are now. And yet, under the layers of dirt and behind the malevolence lie small seeds of nuance, and it is to Loss of Transcendence’s great detriment that they remain scattered seeds alone.

Loss of Transcendence flirts with many things—intrigue, atmosphere, tenacity—but never quite wins any of them over. Riffs generally check boxes for pugnacity, but even at their most brutish and slick (“The Great Observer,” “Impervious Creation”), they have no edge, no force. At the worst end, guitar lines are entirely blunt thanks to nondescript, generic-sounding melodies and patterns (“Herald of Thorns,” “How Far the Faithless will Venture”). It’s unfortunate that all of the best guitar sits in the record’s back half, with “Impervious Creation” and “The Weight of Being Free” delivering shimmying, sliding shredding capable of winning over the harshest of critics, and the latter track featuring a genuinely beautiful, buttery smooth solo that combines everything great about grimy yet gorgeous extreme metal. The frequent use of group vocals, which sometimes creates an impressive miasma of harrowing calls (“Impervious Creation,” title track), falls awkwardly flat when delivered as rousing shouts (“Sentenced at High Noon,” “At The Summit of Consciousness,” “The Weight…”) thanks to the latter’s surprising corniness. The Great Observer also experiment in an exasperatingly random manner with distortion, with a liquid, Worm-adjacent effect appearing in random snatches never to develop (“Parénklisis (Fallen Into Existence),” “How Far…,” “The Weight…,” title track); and the worst part is that it’s good! The pace, generally high, is also stymied by not one but two synth-heavy instrumentals as “Parénklisis…” opens the album with a gravitas that never appears again, and “Ékstasis (The Lonesome Path)” needlessly presses pause for two minutes of ambience and whispering.

In reality, Loss of Transcendence feels frustratingly lukewarm. A mix that pushes guitars erratically between the far background and the very forefront, and a baffling decision3 to layer vocal tracks and reverb like lasagna over these riffs (“The Great Observer,” “Sentenced at High Noon,” “The Weight…,” title track) makes what could be decent blackened death sound almost poor. Almost the only time the guitars sound good is when they sound great, soloing in sudden clarity (“Sentenced…,” “Impervious Creation”) and with fluent expressiveness (“The Weight…,”), and these highlights appear exclusively in the second half. Given this, it becomes harder to forgive the swing of strangely upbeat gang shouts (“Sentenced…,” “Herald of Thorns”) and a brusque attitude to riff-writing that tends to shy away from character.

It’s always a shame when a concept I’m particularly interested in is delivered in mediocre form. Loss of Transcendence strikes as an album that would have had heads spinning and Bibles being reached for in the early 90s but now its grit cannot make up for its shortcomings. Failing to develop their best ideas and sidelining their assets far too often, The Great Observer still haven’t seen how to capitalise on their strengths, and Loss of Transcendence loses more than higher values as a result.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: BlackSeed Productions
Website: Bandcamp | Facebook
Releases Worldwide: April 30th, 2026

Worms are rich fodder for metal band names,1 and it’s not hard to see why. They’re gross, alienlike, and carry connotations of death and decay; and that’s before you start spelling it with a ‘v’ and thereby reference dragons, sea monsters, and the Devil himself. While sharing the collective imagination, this Worm definitely distinguishes themselves. After a shaky start, it was Foreverglade that first saw Worm realize their potential with a lean towards doom-death that retained just enough synth-forward black metal and balanced a murky soundscape with syrupy sweet guitar solos. Since then, Bluenothing and Dream Unending split Starpath developed this characteristic sound, extending further into the spooky and atmospheric, whilst never losing sight of the slimy heaviness that apparently makes their music inaccessible to around 99% of the human population. Necropalace being released on Century Media indicates the kind of meteoric rise the band has recently enjoyed,2 but far from selling out, it’s this album that feels like Worm being the most entirely and unapologetically themselves they’ve ever been; and it pays off.

Necropalace is instantly identifiable as a Worm album: disEMBOWELMENT-esque cavernous doom-death, a dungeon-synth level of fondness for keyboards, and surprisingly beautiful lead guitars all echoing in a cavernous mist. However, following the trajectory set by the interim EP and split, the music now channels a different subgenre of horror. The grandiosity is more theatrical than imposing, the tone is haunting not by a sense of dread, but by an almost camp spookiness, and more time than before is given over to explosive forays into faster tempos. That may sound bad, but it’s brilliant. This expansion into pretty much all black metal has to offer musically gives Worm’s signature interweaving of sinister heaviness and eerie echoey melody room to spread its wings and express all the otherworldly magic and brooding drama it always teased. In Necropalace, Worm transform fully from the swamp beast of yore into the haunted-castle-guarding dragon out of some weird dream nightmare.

Necropalace (24-bit HD audio) by Worm

Everything unique and great about Worm finds a new, more vibrant side on Necropalace. The drawling doom is gloomier; the guitar melodies more exuberant; the reverb and distortion more huge; the atmosphere richer; the synths, ominous choirs, and bells, and distortion more delicious. Guitarist Wroth Septentrion—a.k.a Philippe Tougas of First Fragment—holds nothing back. Dazzling flourishes (“Halls of Weeping”) and lush, crooning refrains (“The Night Has Fangs,” “Blackheart”) spill across the resonant black(ened doom), and arc upwards in great swoops (“Necropalace,” Witchmoon: The Infernal Masquerade”). It’s the most beautiful Worm has ever been, yet retains that layer of grime Worm is so recognisable for. It works so well thanks to supernaturally perfect interplay between keyboard and guitar, where each is expressive and layered in their own right (“Gates to the Shadowzone (Intro)”), and picks up or embellishes the other’s lines. A vibrant dance of strings comes naturally from tense chords of choir (“The Night Has Fangs”) or piano cascades out of dirt-laden riffs (“Necropalace,” “Witchmoon”), and the purring rhythms of synth bleed seamlessly into extreme metal (“Necropalace,” “Dragon Dreams”). The crashing drums and clattering swords, rising synths and bold keys, and the way Phantom Slaughter’s shrieking or apathetic spoken-word echoes phantasmally—all folded into these strikingly melodic forms—together create a kind of operatic melodrama that is endlessly fun to experience.

At this point, I’d normally be adding a caveat, and I’m not starved for choice, in theory. Necropalace is just over an hour long, which might be too much time in the Shadowzone for some, but the time absolutely flies by. A reluctance to edit is also implied by the typically unpopular use of an intro with instrumental “Gates to the Shadowzone (Intro),” which—unlike on Foreverglade3—actually is a shorter track. As its title implies, however, its ominous dungeon synth and shimmering soloing work well to induct the listener into the weird world that follows. And the guitarwork of Marty Friedman—who guests on closer “Witchmoon”—fits so brilliantly with everything Worm has crafted up to this point that it acts as a final, epic flourish that more than capitalises on his—and every member’s—skill.

Despite committing so fully to the spooky and loosening the reins on compositional structure and melody, Worm has not lost their grip on writing heavy, engaging songs. With its bombastic sense of fun and theatricality and a beauty that stays firmly entrenched in the dark and dirty, Necropalace shows Worm evolving in a way that magnifies rather than dilutes their personality. If more people hear it due to signing with a bigger label, then that’s only a good thing. I can’t stop listening myself. This is the album Worm was born to create.

Rating: Excellent
DR: ?4 | Format Reviewed: Stream
Label: Century Media
Website: Bandcamp | Instagram
Releases Worldwide: February 13th, 2026

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Degraved – Spectral Realm of Ruin Review

By Steel Druhm

Seattle-based old school deathers Degraved have been lurking in the back alleys since 2020, tweaking their rancid and rotten caveman-trapped-in-a-cesspool sound for maximum repulsion. 2025 sees them finally give birth to their debut full-length, Spectral Realm of Ruin, and let’s just say their offspring ain’t a looker. Sounding like a time-locked study into the effects of early 90s death on the human brain, you get a nauseating fusion of early Cianide,1 Incantation, Autopsy, and disEMBOWELMENT. This is low-grade, scuzzy, and exceptionally fetid skunk cabbage suitable only for the worst of us. And though the band is sunk up to their privates in the past, they bring enough vim and venom to make things passably fresh and only slightly maggot-infested. If you like your death moldy, oldy, and evil, this just might be your steaming gorilla biscuit.

What I enjoy about Degraved’s style is their blend of ogga-booga caveman idiocy with cavern crawling slime-tentacle riffage and the ever-present coating of muck, mire, and infected poo-crust. This shit just sounds raw, unholy, and filthy. Opener “Pariah of Death” wastes no time flinging waste with abandon, using moist and greasy riffs and thundering drums to backstop sub-human toilet huffing vocals that sound like the NYC subway announcements but a little angrier. Frantic solos, some of which reek of the early days of Death, and some plodding, menacing doom bits round out a crypt rocket of a tune that gets you raving in the fresh graves. “Sulfuric Embalming” is a nuclear bomb of unpleasant noise; blasty, chaotic, raw as fuck, and completely unhinged for the sake of lunacy. The unusually moody guitar phrasing that snakes into the song around the midway point is a nice touch, but this beast is here to swing the deathhammer, and you are all nails.

“Stalker of the Heard” is another piece of trashy nastiness with an extra shot of dissonance and dotted with Tom G. Warrior-esque “UHHs” and OHs” for added spice. This one is teeming with cavern-born Incantation and Immolation riffs that have never seen the light of day, and surprise, surprise, they all bite. There’s an ideal blend of power chugging, mid-tempo devastation, and blasting thrash to keep you off balance. The massive beefbrained chugs at 2:32 are exactly what my metal heart needs, and they feel so right (and wrong). Not everything Degraved do finds that sticky sweet level of decay, however. “Unseen” is the longest cut at over 7 minutes, but it’s the least entertaining cave cretin, lapsing between ooog booga idiocy and bits of Winter and Autopsy but without the charm of either. The quiet interlude in the back-half reeks of something off Death’s Human, and things emerge from this proggier stanza with some effectively brutalizing riffs, but as a whole, the song comes up a bit short. At a short and sharp 35-plus minutes, there’s more to love than tolerate on Spectral Realm of Ruin and the overall experience is appropriately horrific and gruesome. The production is a dead ringer for the shit that was dropping between 1990 and 1994, and the level of murk and reverb in the mix is superb.

NE handles vocals and bass and does a bang-up job. His deathy mutterings and cave roaring are wonderful, and his occasional vomit and wretching noises are a twisted treat. MM and DZ handle the guitars and deliver a bevy of caustic, evil sounds that drip with evil and awful. The solo work is especially delightful and deserving of a round of applause and a spleen ‘n cheese soufflé. They pack that perfect blend of raw energy and somewhat thoughtful progression and add a lot to the dirt and sleaze. LP’s drum work is loud, abrasive, and rowdy, and that’s enough for me. A talented crew in search of cheap morgue space.

Spectral Realm of Ruin is not new, unusual, or groundbreaking, but it will fuck you up and piss on your grave (PISSGRAVE!!). It’s entertaining and disgusting, and sure to repel those whom you seek to offend. What do you have to lose by checking this out besides that shower-fresh feeling? Cleanliness is overrated anyway. I myself haven’t bathed in weeks! Now go get Degraved.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Dark Descent
Websites: degraved.bandcamp.com/album | instagram.com/degraved
Releases Worldwide: November 14th, 2025

#2025 #30 #americanMetal #autopsy #cianide #darkDescentRecords #deathMetal #degraved #disembowelment #incantation #nov25 #review #reviews #spectralRealmOfRuin

Then there's the slightly smaller version, but with the same big content.

I actually thought I ordered the CD when I ordered this from Relapse. I don't think I even knew there was a tape version at the time, and tapes weren't much on my mind. The CD was sold out at that point.
Funny thing is, I managed to do a similar thing with Masonna, buying the 3x7" believing I bought the CD of "Inner Mind Mystique".
#doomMetal #NowPlaying #tape #metal #saturdoom #diSEMBOWELMENT

The big small d. DOOM CLASSIC "Transcendence Into The Peripheral"

#diSEMBOWELMENT
#doommetal #metal #classic #CD #NowPlaying

#Saturdoom: The band I liked the most during the first day of Oslo Deathfest, was the young, Norwegian funeral death/doom band, #Gloombound. With the synth/organ, they make me think of #Skepticism, and live they also gave me #diSEMBOWELMENT vibes. As a bonus, the guitarist wore a #Theregothon long sleeve. So, they hit all the right spots for me. I look forward to the album, that apparently will be released next year.
https://gloomboundband.bandcamp.com/album/astral-exhalation

#doomMetal #doom #funeralDoom #OsloDeathfest

#Saturdoom: The band I liked the most during the first day of Oslo Deathfest, was the young, Norwegian funeral death/doom band, #Gloombound. With the synth/organ, they make me think of #Skepticism, and live they also gave me #diSEMBOWELMENT vibes. As a bonus, the guitarist wore a #Theregothon long sleeve. So, they hit all the right spots for me. I look forward to the album, that apparently will be released next year.
https://gloomboundband.bandcamp.com/album/astral-exhalation

#doomMetal #doom #funeralDoom #OsloDeathfest

#Saturdoom: The band I liked the most during the first day of Oslo Deathfest, was the young, Norwegian funeral death/doom band, #Gloombound. With the synth/organ, they make me think of #Skepticism, and live they also gave me #diSEMBOWELMENT vibes. As a bonus, the guitarist wore a #Theregothon long sleeve. So, they hit all the right spots for me. I look forward to the album, that apparently will be released next year.
https://gloomboundband.bandcamp.com/album/astral-exhalation

#doomMetal #doom #funeralDoom #OsloDeathfest

#Saturdoom: The band I liked the most during the first day of Oslo Deathfest, was the young, Norwegian funeral death/doom band, #Gloombound. With the synth/organ, they make me think of #Skepticism, and live they also gave me #diSEMBOWELMENT vibes. As a bonus, the guitarist wore a #Theregothon long sleeve. So, they hit all the right spots for me. I look forward to the album, that apparently will be released next year.
https://gloomboundband.bandcamp.com/album/astral-exhalation

#doomMetal #doom #funeralDoom #OsloDeathfest

#Saturdoom: The band I liked the most during the first day of Oslo Deathfest, was the young, Norwegian funeral death/doom band, #Gloombound. With the synth/organ, they make me think of #Skepticism, and live they also gave me #diSEMBOWELMENT vibes. As a bonus, the guitarist wore a #Theregothon long sleeve. So, they hit all the right spots for me. I look forward to the album, that apparently will be released next year.
https://gloomboundband.bandcamp.com/album/astral-exhalation

#doomMetal #doom #funeralDoom #OsloDeathfest

#TheMetalDogArticleList
#MetalInjection
10 Bands That Broke Up Way Too Soon

https://metalinjection.net/lists/10-bands-that-broke-up-way-too-soon

#Kyuss #Siege #GlassCloud #Hellhammer #DeadwaterDrowning #diSEMBOWELMENT #Beecher #AIIz #Carnage #Thergothon

Civerous – Maze Envy Review

By Dolphin Whisperer

As I gazed upon the purple-toned maze—which, does not appear to be a very well-designed maze in its hissing sculpture—and heard the early, shimmering notes of what Civerous brought to the table for this sophomore release, Maze Envy, my mind raced. This Los Angeles-based act’s 2021 full-length debut, Decrepit Flesh Felic, filled a snarling, buzzing diSEMBOWELMENT-shaped niche of pounding, shifting death metal that supplies ample kicks to the seat. Though Civerous never turned quite as doom-laden and tortured as that Australian novelty, 1 they pushed into the bounds of long-form tumble in their cavernous lane with a proud stomp. But a few years older, and a few shades brighter, does Maze Envy promise the exploration at which their debut hinted?

Guitars trading between stomp, surge, and swing and rhythms finding a matching march or pummel—many elements remain the same from their adventurously death metal 2021 debut Decrepit Flesh Relic. If you’re unfamiliar with the kind of churning slow-down to percussive madness that many Incantation-admiring bands summon, Civerous’ debut stands just a bit higher in the pack of young festering hopefuls. Vocalist Lord Foul (Aylwin) helps in particular with a croak that thrashes with sibilant character and tunneled prowess that throws already hefty breakdowns into feral arm-throwing frenzies (“Shrouded in Crystals,” “Levitation Tomb”). Enhancing further these barks and bellows, guitarists Alonso Santana and Daniel Salinas (Aylwin) have chosen a less crusty, more ripping tone which helps spread the hum and grime of an early Pestilence throughout this hazy outing.

Though the twisted, cavernous brutality of Civerous’ trudging death metal persists, Maze Envy takes this act’s atmospheric aspirations and fine-tunes them. With a couple band member’s shared experience in atmoblack project Aylwin serving a little bleedover into this venture, it feels natural to hear the melodic, post-black breakaways flutter about the corners of this labyrinth. Oddly, no sole member receives credit for the emulated violin and synth work,2 but these creeping and searing additions play an integral role in the horror movie introduction (“The Azure Eye”) and in recalling those moods throughout various points of Maze Envy. Concluding with the Convocation-esque closer “Geryon (The Plummet),” Civerous feels more comfortable than ever allowing a funereal-adjacent pace and melodrama to steer the path about a crushing identity.

On many of these longer tracks, the riff work quality and transition don’t distribute weight evenly. In part, some of this uneven trample results from the lack of dynamics within the heavier sections of songs. Maze Envy finds breath well in a tense intro and dreamy interlude (“Endless Symmetry”). And in its most explosive numbers (“Labyrinth Charm,” “Maze Envy”), Civerous breaks the tension with textural shifts that soar with a cutting and soaring post-gazey crescendo. And while some of those same shades exist in other songs, the compressed assault can be tiring with hardcore-leaning chug-shuffles guiding excursions providing more of a plod despite Civerous also showing proficiency with jagged-tinged death twists.

In speaking of this brand of brutish metal that approaches its attack from trudging paces that erupt into spurts of mania as its krux, beauty should be fleeting but apparent, interwoven but off-center. The search for that glimmer is the function and draw of its ugly tones and warping character. Civerous seems to believe in this end goal as well, finding a sound among contemporaries like labelmates Worm and the recently successful Spectral Voice. In turn, Maze Envy succeeds a good deal more than it stumbles. It’s final track alludes to a character from Dante’s Inferno—Geryon, the beast of fraud—who acts as a sinister guide to the eighth circle of hell. I’m not sure Civerous crackles quite as I would hope for a venture of this depth, but I am excited to see whether their next journey takes us even deeper.

Rating: 3.0/5.0
DR: 63 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Websites: civerous.bandcamp.com | instagram.com/civerous_disease
Releases Worldwide: March 22nd, 2024

#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #Aylwin #Civerous #DeathDoom #DeathMetal #diSEMBOWELMENT #Incantation #Mar24 #MazeEnvy #Pestilence #Review #Reviews #SpectralVoice #Worm

Civerous – Maze Envy Review

By Dolphin Whisperer

As I gazed upon the purple-toned maze—which, does not appear to be a very well-designed maze in its hissing sculpture—and heard the early, shimmering notes of what Civerous brought to the table for this sophomore release, Maze Envy, my mind raced. This Los Angeles-based act’s 2021 full-length debut, Decrepit Flesh Felic, filled a snarling, buzzing diSEMBOWELMENT-shaped niche of pounding, shifting death metal that supplies ample kicks to the seat. Though Civerous never turned quite as doom-laden and tortured as that Australian novelty, 1 they pushed into the bounds of long-form tumble in their cavernous lane with a proud stomp. But a few years older, and a few shades brighter, does Maze Envy promise the exploration at which their debut hinted?

Guitars trading between stomp, surge, and swing and rhythms finding a matching march or pummel—many elements remain the same from their adventurously death metal 2021 debut Decrepit Flesh Relic. If you’re unfamiliar with the kind of churning slow-down to percussive madness that many Incantation-admiring bands summon, Civerous’ debut stands just a bit higher in the pack of young festering hopefuls. Vocalist Lord Foul (Aylwin) helps in particular with a croak that thrashes with sibilant character and tunneled prowess that throws already hefty breakdowns into feral arm-throwing frenzies (“Shrouded in Crystals,” “Levitation Tomb”). Enhancing further these barks and bellows, guitarists Alonso Santana and Daniel Salinas (Aylwin) have chosen a less crusty, more ripping tone which helps spread the hum and grime of an early Pestilence throughout this hazy outing.

Though the twisted, cavernous brutality of Civerous’ trudging death metal persists, Maze Envy takes this act’s atmospheric aspirations and fine-tunes them. With a couple band member’s shared experience in atmoblack project Aylwin serving a little bleedover into this venture, it feels natural to hear the melodic, post-black breakaways flutter about the corners of this labyrinth. Oddly, no sole member receives credit for the emulated violin and synth work,2 but these creeping and searing additions play an integral role in the horror movie introduction (“The Azure Eye”) and in recalling those moods throughout various points of Maze Envy. Concluding with the Convocation-esque closer “Geryon (The Plummet),” Civerous feels more comfortable than ever allowing a funereal-adjacent pace and melodrama to steer the path about a crushing identity.

On many of these longer tracks, the riff work quality and transition don’t distribute weight evenly. In part, some of this uneven trample results from the lack of dynamics within the heavier sections of songs. Maze Envy finds breath well in a tense intro and dreamy interlude (“Endless Symmetry”). And in its most explosive numbers (“Labyrinth Charm,” “Maze Envy”), Civerous breaks the tension with textural shifts that soar with a cutting and soaring post-gazey crescendo. And while some of those same shades exist in other songs, the compressed assault can be tiring with hardcore-leaning chug-shuffles guiding excursions providing more of a plod despite Civerous also showing proficiency with jagged-tinged death twists.

In speaking of this brand of brutish metal that approaches its attack from trudging paces that erupt into spurts of mania as its krux, beauty should be fleeting but apparent, interwoven but off-center. The search for that glimmer is the function and draw of its ugly tones and warping character. Civerous seems to believe in this end goal as well, finding a sound among contemporaries like labelmates Worm and the recently successful Spectral Voice. In turn, Maze Envy succeeds a good deal more than it stumbles. It’s final track alludes to a character from Dante’s Inferno—Geryon, the beast of fraud—who acts as a sinister guide to the eighth circle of hell. I’m not sure Civerous crackles quite as I would hope for a venture of this depth, but I am excited to see whether their next journey takes us even deeper.

Rating: 3.0/5.0
DR: 63 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Websites: civerous.bandcamp.com | instagram.com/civerous_disease
Releases Worldwide: March 22nd, 2024

#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #Aylwin #Civerous #DeathDoom #DeathMetal #diSEMBOWELMENT #Incantation #Mar24 #MazeEnvy #Pestilence #Review #Reviews #SpectralVoice #Worm

Civerous – Maze Envy Review

By Dolphin Whisperer

As I gazed upon the purple-toned maze—which, does not appear to be a very well-designed maze in its hissing sculpture—and heard the early, shimmering notes of what Civerous brought to the table for this sophomore release, Maze Envy, my mind raced. This Los Angeles-based act’s 2021 full-length debut, Decrepit Flesh Felic, filled a snarling, buzzing diSEMBOWELMENT-shaped niche of pounding, shifting death metal that supplies ample kicks to the seat. Though Civerous never turned quite as doom-laden and tortured as that Australian novelty, 1 they pushed into the bounds of long-form tumble in their cavernous lane with a proud stomp. But a few years older, and a few shades brighter, does Maze Envy promise the exploration at which their debut hinted?

Guitars trading between stomp, surge, and swing and rhythms finding a matching march or pummel—many elements remain the same from their adventurously death metal 2021 debut Decrepit Flesh Relic. If you’re unfamiliar with the kind of churning slow-down to percussive madness that many Incantation-admiring bands summon, Civerous’ debut stands just a bit higher in the pack of young festering hopefuls. Vocalist Lord Foul (Aylwin) helps in particular with a croak that thrashes with sibilant character and tunneled prowess that throws already hefty breakdowns into feral arm-throwing frenzies (“Shrouded in Crystals,” “Levitation Tomb”). Enhancing further these barks and bellows, guitarists Alonso Santana and Daniel Salinas (Aylwin) have chosen a less crusty, more ripping tone which helps spread the hum and grime of an early Pestilence throughout this hazy outing.

Though the twisted, cavernous brutality of Civerous’ trudging death metal persists, Maze Envy takes this act’s atmospheric aspirations and fine-tunes them. With a couple band member’s shared experience in atmoblack project Aylwin serving a little bleedover into this venture, it feels natural to hear the melodic, post-black breakaways flutter about the corners of this labyrinth. Oddly, no sole member receives credit for the emulated violin and synth work,2 but these creeping and searing additions play an integral role in the horror movie introduction (“The Azure Eye”) and in recalling those moods throughout various points of Maze Envy. Concluding with the Convocation-esque closer “Geryon (The Plummet),” Civerous feels more comfortable than ever allowing a funereal-adjacent pace and melodrama to steer the path about a crushing identity.

On many of these longer tracks, the riff work quality and transition don’t distribute weight evenly. In part, some of this uneven trample results from the lack of dynamics within the heavier sections of songs. Maze Envy finds breath well in a tense intro and dreamy interlude (“Endless Symmetry”). And in its most explosive numbers (“Labyrinth Charm,” “Maze Envy”), Civerous breaks the tension with textural shifts that soar with a cutting and soaring post-gazey crescendo. And while some of those same shades exist in other songs, the compressed assault can be tiring with hardcore-leaning chug-shuffles guiding excursions providing more of a plod despite Civerous also showing proficiency with jagged-tinged death twists.

In speaking of this brand of brutish metal that approaches its attack from trudging paces that erupt into spurts of mania as its krux, beauty should be fleeting but apparent, interwoven but off-center. The search for that glimmer is the function and draw of its ugly tones and warping character. Civerous seems to believe in this end goal as well, finding a sound among contemporaries like labelmates Worm and the recently successful Spectral Voice. In turn, Maze Envy succeeds a good deal more than it stumbles. It’s final track alludes to a character from Dante’s Inferno—Geryon, the beast of fraud—who acts as a sinister guide to the eighth circle of hell. I’m not sure Civerous crackles quite as I would hope for a venture of this depth, but I am excited to see whether their next journey takes us even deeper.

Rating: 3.0/5.0
DR: 63 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Websites: civerous.bandcamp.com | instagram.com/civerous_disease
Releases Worldwide: March 22nd, 2024

#20BuckSpin #2024 #30 #AmericanMetal #AtmosphericDeathMetal #Aylwin #Civerous #DeathDoom #DeathMetal #diSEMBOWELMENT #Incantation #Mar24 #MazeEnvy #Pestilence #Review #Reviews #SpectralVoice #Worm

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

#2024 #30 #AltarOfBetelgeuze #Asphyx #Candlemass #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Echoes #Evoken #FinnishMetal #Incantation #Mar24 #Om #Review #Reviews #Saturnus #SelfRelease #StonerDoomMetal #SwallowTheSun #Weedeater #Winter

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

#2024 #30 #AltarOfBetelgeuze #Asphyx #Candlemass #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Echoes #Evoken #FinnishMetal #Incantation #Mar24 #Om #Review #Reviews #Saturnus #SelfRelease #StonerDoomMetal #SwallowTheSun #Weedeater #Winter

Altar of Betelgeuze – Echoes Review

By Dear Hollow

My experience in the doomier side of death metal is skewed. While many of the olde drank deep of the greats in the canon of Incantation, Asphyx, or diSEMBOWELMENT, my first experiences in the low and slow were Saturnus, Swallow the Sun, and Evoken’s more contemporary fare.1 One classic album that did speak to me in hushed whispers through its grimy and thickly menacing approach to death metal was Winter’s sole 1990 LP Into Darkness. A similar harbinger of the sound like many of the above, it relied more on death metal than doom, utilizing the latter only to bring out the sickness with each movement. Finland’s Altar of Betelgeuze utilizes this classic template of riff-first fed headfirst into the doom machine, but they do so by adding a slight green fuzz to their proceedings.

Echoes is the quartet’s third full-length since the act’s conception in 2010. While featuring the armaments and cavernous bellows of Incantation or Winter, it also is armed with a stoner doom fuzz and vocal influence from Candlemass. However, you can be sure that the “married iguana” haze does not subtract from Altar of Betelgeuze’s intention of crushing your skull in. Each of Echoes’ tracks features thick and punishing riffs with charismatic death metal vocal performances, with a fuzzy sprawl reminiscent of acts like Weedeater and Om. Ultimately, Echoes is by no means a genre-defining or challenging album, but it finds Altar of Betelgeuze tapping into earthmoving heaviness.

There are no frills on Echoes – no fancy-ass intros, ambient interludes, or atmospheric pretense. Altar of Betelgeuze wastes no time hitting you with a skull-crushing riff in opener “On the Verge,” a pummeling affair of mammoth echoing drums, thick riffs with a gritty undertone, and hellish bellows commanding the movements. This punishment continues in “Embrace the Flames,” a more upbeat precipice of death metal. “Conclusion” offers a more crawling and sprawling stoner approach, dwelling in a subtle plucking style that capitalizes on the riff – a torch that “A Reflection” carries on with more fuzzy riffs and drawling leads. The title track is the album climax, a patient nine-minute odyssey that never lets up on its density, its stoner influence weaponized to saturate every negative space. Altar of Betelgeuze’s no-frills approach, combined with its mammoth production unafraid of grit or grime, makes for Echoes to be a force to be reckoned with.

Two tracks that call the album into question are not due to lack of quality, but simply their placement, namely alongside the highlight “Echoes.” Case in point, “Salvation” is by no means a poor track, but its jarring stoner-doom focus and Candlemass-esque barked vocals with a stark lack of death metal make its relatively toothless sound forgettable. Similarly, and more problematic, “Fading Light” must attempt to take up the mantle after “Echoes,” but its replication of the previously focused riffs pales in comparison due its sudden lack of exploratory songwriting, making its inclusion questionable. At least “Salvation” is a unique inclusion in stoner fuzz and barked vocals, while “Fading Light” feels almost entirely unnecessary. On a nitpicking level, “Conclusion” may feel underwhelming after “On the Verge,” while “A Reflection” is its weaker and more forgettable version. Although commanding, the vocals of Matias Nastolin are just a tad too loud in the mix, somewhat drowning out the riffs periodically.

Even if my perception of death/doom is skewed, I still had a great time with Echoes. Altar of Betelgeuze doesn’t pretend to be the best thing since Incantation. The trio offers a slow-motion beatdown that will get your head bobbing in a doom-centric style that doesn’t feel too slow, but rather finds the sweet spot of tempos that capitalizes upon the groove. Featuring a nice set of tracks that neatly weaponize stoner and traditional doom in ways that saturate rather than dominate, the focus is refreshingly straightforward and tastefully pummeling. Playing it close to the vest until the epic “Echoes,” Altar of Betelgeuze offers not the next chapter of doom, but a reason why people love it.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: altarofbetelgeuze.bandcamp.com | facebook.com/AoBofficial
Releases Worldwide: March 22nd, 2024

#2024 #30 #AltarOfBetelgeuze #Asphyx #Candlemass #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Echoes #Evoken #FinnishMetal #Incantation #Mar24 #Om #Review #Reviews #Saturnus #SelfRelease #StonerDoomMetal #SwallowTheSun #Weedeater #Winter