#dutch-metal — Public Fediverse posts

Since the band announced a new record in the works, for #BlackMetalMonday today I bring to you:

👥 Beenkerver
💿 De Rode Weduwe
🔗 https://musiccloud.io/Pbg25

(Bone carver / The Red Widow)

Album highlight is the opener track with the same name as the album. That opening shriek sets the tone for the onslaught that is this track.

Pure, intense Dutch black metal according to the book. Singing about local folklore / legends. In this case about a women avenging her abuse by her husband with his murder and the ensuing story.

If you like Fluisteraars, I think you'll like this as well (@HailsandAles)

#BlackMetal #DutchBlackMetal #DutchMetal

There’s a tendency amongst folk and folk-adjacent metal bands to become goofier over time. Bands like Alestorm and Wind Rose began their careers with a semblance of seriousness before walking the plank into potty humor and/or covering YouTube Minecraft songs. The Netherlands’ “epic party folk metal” band Mourning Wood are the first I’ve encountered to have started here on purpose. Having shared stages with the aforementioned bands, and given their name that’s got the whole sixth grade laughing, Mourning Wood have the sophomoric mentality to fit within this particular niche of the sub-genre. Sporting their debut record Rise & Shine, Mourning Wood promise “the perfect foundation for a great night with unexpected turns, alcohol, and bad decisions.” But does Mourning Wood rise to meet the party’s energy, or does Rise & Shine fall limp at the first sign of action?

Mourning Wood’s up for some fun, but Rise & Shine’s party angle feels half-cocked. Energy’s no issue, though; Mourning Wood peddle a brand of high-octane extreme-power-folk metal. “Heathen Hooray” and “The Vikening”‘s sword-swinging heroics recall the frantic melodicism of Ensiferum and Æther Realm, and the lighthearted jauntiness of Korpiklaani turns up on “Behind Enemy Lines” and “Seaman Shanty.” Rise & Shine also goes down easy enough for a party atmosphere, because while many of its songs run long, they are well-paced and shockingly well-produced and mixed. What crashes Rise & Shine’s party is comedy. It’s not funny. Now, comedy is as subjective as it comes, but besides some low-hanging jizz puns (“Seaman Shanty”) there aren’t really any jokes. “American rednecks are ridiculous” (“Redneck Redemption”). “Nordaboos are silly” (“Modern Day Viking”). That’s about it. Musically, Mourning Wood takes some turns that could inspire a chuckle, but most are too obvious—banjo in “Redneck Redemption,” EDM in “Dwarven Dance”—to do much for me.1 I love the energy, but the goofy side of Rise & Shine fails to excite.

But don’t sleep on Mourning Wood, ’cause Rise & Shine still has bangers. Epic in scope and immediate in appeal, Rise & Shine is a head-bobbing joy ride more often than not. Mourning Wood know their way around a chorus, whether it be mead-quaffing ragers like “Heathen Hooray” or simply epic peaks like “Rise & Fall.” More surprisingly, Rise & Shine’s bridges are consistently its high points. Surefire crowd-pleasing group vocals in “The Vikening,” a theremin solo in “Modern Day Vikining,” an unsurprising-yet-effective break into reggae in “Blastafari;” Mourning Wood can’t be accused of phoning it in. Rise & Shine’s musical eccentricity recalls Diablo Swing Orchestra on occasion, not because Mourning Wood necessarily sound like DSO (though “Redneck Redemption” swings quite hard) but because it feels like nothing is ever off the table. Album highlight “Blastafari” alone shifts between meloblack blasting, Finntrollesque folk, power riffing, and the aforementioned reggae bridge. Not every swing is a hit, but nobody can say Mourning Wood ain’t swinging it.

I’ve found a good rule of thumb for Mourning Wood: the longer, the better. The epics of Rise & Shine are routinely engaging, managing their girthy runtimes with rock-solid songwriting. Viking bravado fuels the dynamic opener “Behind Enemy Lines,” and “Rise & Fall” marches with the slow-burn glory of Caladan Brood into a gangbusters climax. At its grandest, Rise & Shine puts out whiffs of Equilibrium’s Sagas, and that’s no small feat. Even songs that aren’t at typical epic lengths fill the niche. I keep forgetting “Heathen Hooray” and “Blastafari” are only five and five-and-a-half minutes respectively, not because they’re slogs to get through but because Mourning Wood pack so much into them it feels like they should be twice as long. Funnily enough, Mourning Wood are significantly more fun when they’re treating Rise & Shine with a modicum of seriousness than when they’re acting a fool.

My time with Mourning Wood was but distinctly frustrating, but unquestionably enjoyable. The highlights of Rise & Shine are some of the best folk metal I’ve heard in years, while its lowlights are some of the most tedious. I don’t want to suggest to Mourning Wood to cut the comedy out of their music entirely, because that’s clearly something important to them. Instead, if they treated their gags with the care, precision, and fervor they put into their metal work, their next album could be hilarious. I know in my heart they can nail being funny and epic. Regardless, let it be known that the next time I chance an encounter with Mourning Wood, I will seize upon it posthaste.

Rating: Good
DR: 10 | Format Reviewed: 320 kbps MP3
Label: Self-Release2
Websites: mourningwood.nl | facebook.com/mourningwoodparty | mourningwoodband.bandcamp
Releases Worldwide: September 18th, 2026

#Mailday today! The new record from Fluisteraars came in today, a week before release.

Artwork by band member B. Mollema.

#BlackMetal #DutchMetal

Today I got a confirmation that an order from the recordlabel Eisenwald was underway, I had to think for a bit, but: That means the new Fluisteraars is on it's way to me!

To celebrate:

👥 Fluisteraars
💿 Bloem
🔗 https://musiccloud.io/oq9BqFXd

#BlackMetal #DutchMetal #NowPlaying

Going for a double bill today with @loewe’s #MondayCovers and @HailsandAles’s #BlackMetalMonday.

👥 Walg
💿 III
🎶 Mourning Palace (cover)
🔗 https://musiccloud.io/TKb2d0_H

Walg (translated; Disgust) makes modern melodic black metal and wear their inspiration on their sleeves. While at the same time, properly leaning in to what the Dutch language has to offer for extra growling noises. After finally seeing them live this weekend, they deserve more recognition. Added bonus is that they are from #Groningen, my hometown.

#BlackMetal #MelodicBlackMetal #DutchMetal

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

Little Dutch doom-death band Doomcult have been lurking around for 10 years, releasing three albums that haven’t earned them a large slice of mainstream notoriety. Starting life as the solo project of one J.G. Arts, Doomcult has been a vehicle for expressing J.G.’s adoration for the classic Peaceville-era sound made famous by My Dying Bride, Anathema, and Paradise Lost. Early albums played out like a love letter to the 90s Gothic-doom sound, with long, meandering compositions wallowing in chronic sadboi dysfunction. Fourth release, Sacrifice All Life, finds J.G. still running the show, but this time he brought in a vocalist to help round out the sound. The overall sonic blueprint has also been tweaked to incorporate more aggressive tempos and a greater death metal element to anger up the doomy musings. This makes for an interesting collection of tunes with a surprising amount of in-your-face heaviness and extremity.

Opener “Necromancer” wastes no time waking the dead with big, burly riffs. It feels more like High on Fire or Orange Goblin in spirit than classic doom-death, and the Peaceville-loving days seem a million miles away at first. Soon, roof-rattling leads that cleave closer to death metal ride roughshod as new vocalist Rens van Herp (or possibly J.G.) delivers booming death gurgles while someone (J.G., I assume) offers clean, thrash-like shouts. It’s quite effective, and those mid-tempo dino-riffs are impossible to resist or ignore. This is some satisfyingly heavy, forceful noise. I especially like how similar the clean vocals are to Bob Mayo of Wargasm. “Consciousness” cleaves closer to the early Peaceville days with mournful, depressive harmonies laying Gothic flowers on the gravesite as large, ugly death roars dominate the field. The aggressive elements soon resurface, and the dual-vocal attack pays dividends once again. The spikes in tempo keep the nearly 7 minutes moving and grooving, and there are interesting ideas sprinkled throughout the corpse broth.

The real acid test comes with the 15-minute album centerpiece “Sacrifice.” At times, the music reminds of classic Candlemass, and at others it invokes the raw, early days of Paradise Lost and Cathedral. It’s a study in how to hold a listener’s attention over a long period via slick songcraft. Tempos shift at key moments to break things up and keep you on your toes, and time becomes meaningless. Some segments are scuzzy death-doom, others read classic epic doom, and a few isolated bits stink of funeral doom and even stoner booty-shaking. All this is accomplished with very simplistic riff patterns and very little in the way of decorative harmonies. You reach the halfway point before you know it, and the ebb and flow carry you along effortlessly. I’ve seen far better-known and respected bands tank on songs this long, so it’s a wonder how well Doomcult pull it off. They even uncork blastbeats toward the finale, finally unchaining the guitar to noodle and spew. It’s a aural geyser of cathartic release. The goods keep flowing with the caveman-simplistic, but hooky riff-rolling of “Barbed Wire,” and “All Shall Fall,” which nods to Novembers Doom and Cemetery as well as olde Paradise Lost while delivering a massive truckload of prime riff beef to your doorstep. Could I do without the album closing with a re-recording of a song off their debut? Sure, but it provides a nice comparison point for where the band started and where they are now. Does the album feel long at 57 minutes? Not really. I assumed it was a 45-minute platter and was quite surprised when I saw the actual length. That’s a feather in their cap to be sure.

With J.G. handling almost all the guitar work, all other instruments, as well as the songwriting, lyrics, and backing vocals, this is his baby, and he deserves the lion’s share of credit for how effective and listenable Sacrifice All Life ends up. Sure, the shouted cleans are one-dimensional and don’t always work as well as they could, but that’s a minor niggle in the wake of the things that do work. The riffs make this album seethe and bubble with energy, and there’s way more fire and fury here than any doom-death platter should be allotted. If it’s Rens van Herp doing the death roars, kudos to him, as they’re massive, raw, and primal, giving the material all the heaviness it needs. The real star of the show is the songwriting, which manages to use fairly simple, stripped-down music to make long-form compositions pop and sizzle. Not an easy task, but Doomcult do it well.

Sacrifice All Life is another easy-to-miss release you likely won’t hear much about, but it definitely deserves attention. It isn’t doom-death, and it isn’t death-doom, but it sits somewhere in that inky blackness between the genres, and it packs a big wallop. I’ve been spinning it over and over and keep finding new things to appreciate. I’m now investigating their back catalog and studying up on this little Cult that could. You should too. Be a joiner!

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: doomcult1.bandcamp.com | facebook.com/doomcultmetal | instagram.com/doomcultband
Releases Worldwide: July 17th, 2026

Darkest Before Dawn by Dutch underground metal band Nuestros Derechos (2000-2011):
https://youtu.be/BvYmFxrep6Y?t=1257&si=Mll986QFXVro6lXE
(From their 2008 release 'Struggling with the Dark')
#tunetuesday #Enternight #metal #metalmusic #metalband #dutchmetal

Not sure what you will be listening to today, I'm listening to the new single released by Fluisteraars and will get stuck in their discography.

Can't wait for their live show.

👥 Fluisteraars
💿 Jacht der Mysteriën
:bandcamp: https://fluisteraars.bandcamp.com/album/jacht-der-mysteri-n

#NewReleases #NewMetal #DutchMetal

Walg appeared out of nowhere in 2021 with a debut filled with tenacious riffs, creative melodies, and impassioned performances. They have attained a sort of cult status in the years since—not quite widely known, but fiercely beloved by their fans. Their energetic fervor has swept up a few writers here at AMG, including Gardenstale, Grin Reaper, and me.1 Walg have been prolific since their debut, releasing one album per year—sometimes there’s just no stopping the creative juices from flowing. On the flip side, such a prolific release schedule risks snuffing out the candle of passion by falling into the trap of formulaic songwriting. Walg continue to conjure that amazing, infectious energy, but once you’ve heard it 3 or 4 or 5 times, it’s difficult to create that original magic. So what will it be for this sixth go-around? Will the bellows continue to feed the flames of passion, or have the flames dwindled to mere embers?

On VI, Walg still tenaciously cling to the passion that drove them on their debut. “Nevel” starts things off with your typical Walg guitar lead—energetic and catchy as hell. Subtle symphonics enhance the music and bring their style of meloblack closer to the likes of Dimmu Borgir, Old Man’s Child, and …And Oceans. Yet Walg also sound fiercely like their own beast. VI does have a slightly different vibe compared to the earlier records; it’s missing those spontaneous moments of sudden passionate melodicism that surprised and delighted on prior records. The tunes here feel more deliberately crafted and controlled. A tenacity on past works has given way to a little more restraint. Of course, they still play with hunger and deliver many exceptional melodies. They also pause more frequently for moments of quieter beauty, as on “1597” when Robert Koning sings his plaintive cleans amidst some gentle tremolos.

That Walg wildness still remains, though, and it largely comes out in the vocal performance of Yorick Keijzer. He snarls and rasps like a wounded animal. While his deranged delivery gives the impression of a record careening out of control, there’s a method to his madness. His cadence sometimes brings to mind that of Maurice Wilson (Antrisch), and it adds a distinctive character to the heart and soul of the music. While the songs themselves have more constrained structures to offset Yorick’s wildness, there is one exception. The six-minute “De Eenlonkster” is an uncaged beast that is among Walg’s most creative. From arpeggios and riffs with a country twang, to a gently sung portion accompanied by the sound of lapping waves, to a brief moment when it nearly dives into death-doom territory, “De Eenlonkster” kicks and bucks, leaving you with whiplash and a purple bruise around your eye, but you’ll be grinning, missing teeth and all, when the tune rolls to its end.

Having written dozens of songs in the six years of their existence, it’s safe to wonder if Walg are running out of ideas, especially when they deliver, at 34 minutes and 8 songs, their shortest album to date. And yet they have meticulously crafted something fabulous, still full of the Walg zeal and spark. It’s true, though, as Gardenstale pointed out in his review of V, that the veneer of their formula is starting to wear thin. There’s a sense of déjà vu when a band releases material so frequently and consistently. On VI’s weaker tracks on the back half of the record, “Stil Geboren” and “De Nacht Behoort On Allen Toes” (which are still plenty fun), the repetition is more obvious than on other tracks. The back half does have a couple of winners, however. “Het Klooster Van Ter Apel” has some creative percussion work along with a sweet riff line, while “Erfvloek” takes a more subdued route with a beautiful trem melody that provides VI a rather lovely conclusion.

My journey with VI contained moments of ups and downs. Admittedly, my initial spins left it wanting—something felt different that I couldn’t quite put my finger on. Eventually, however, it clicked, and I began to again appreciate Walg’s songwriting magic. There’s a duet here between a gentle beauty and repellent wildness. Walg still sound like Walg, yet there’s a subtle evolution. They have managed to craft a very enjoyable record, and this brief package shows that Walg remain a wrecking ball force of nature in the realm of melodic black metal. However, one can hope they’re able to take a further step in their evolution on the follow-up to VI—VII.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

Just in time for #BlackMetalMonday after a day to remember that just flew by. Very underground, very Dutch, so think bleak, a bit folky and at times quick and relentless, but still very, very black.

👥 Nachtheem
💿 Waan van de leegte
🔗 https://musiccloud.io/k7Qqc

(Home for the night / Illusion (delusion) of emptiness)

FFO: Fluisteraars, Nagel, Laster, Wolves In The Throne Room.

Paging: @HailsandAles @miona

#BlackMetal #DutchBlackMetal #DutchMetal #DutchBlackMetalBandsThatHaveASingularOldFashionedWordAsBandName

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Stenahoria roughly translates to “sorrow” in Greek, a fitting title for The Fifth Alliance’s fourth full-length, which centers on the “shared human experience of sorrow, fear, and confinement.”1 The Dutch group—appropriately a five-piece—are in some sense starting anew despite their longevity, with a new vocalist, Natalya Thelen, and a new drummer, Peter Scheffer. In another sense, they are unchanged and remain a slightly morbid-leaning2 post/black/sludge entity armed with viciousness and vivacity. A seven-year interval is not nothing, however, and The Fifth Alliance show aspects of themselves that diverge in more ways than one.

Stenahoria feels strikingly heftier than prior releases. The Fifth Alliance lean harder into sludge and occasionally stoner (“Battle of Barnet”), with long riffs caked in feedback. The heaviness is of a weightier, battering sort, approaching Pilori at its peak (“Phoenix”), never forsaking the blackened influence that sees tremolos shiver violently against the crunching backdrop and drums erupt out of their crawl. There is also a slight tilt in favor of clean vocals, lending the groovier, smoother passages a Chelsea Wolfe air. Like her predecessor, Natalya provides both the sung and the screamed narration, and her range is impressive, her harsh vocals particularly potent. But her cleans take center-stage in roughly equal measure, a more grounded presence that works in tandem with the blunter edge of the riffs and denser rhythms for an oddly fortifying experience.

The Fifth Alliance create just as much of an atmosphere with their new approach, and it’s one full of feeling. The way “Phoenix” explodes into existence with a maniacal roar had me grinning from ear to ear, and this passionate vitriol is what drives some of Stenahoria’s best moments. Powerful singing morphs into burning screams layering over one another, escalating with the pitch of the guitars (“Benandanti,” “Jakob”). This translates to the instrumentation, which matches the intensity by tipping over into blackened-death-coded tumult led by frenetic tremolos and wild percussion (“The Fool…,” “Jakob”). The drumming in general is stellar in this regard,3 restlessly shuffling and adding layers of dynamism (“The Fool….,” “Battle of Barnet”) even in the quieter sections, where a lesser band or performer in the subgenre would be content with simplicity. Rhythm plays into the power of the vocals and riffs just as much as it does the percussion when Stenahoria reaches its apexes. It heightens the mournfulness and drama of the suddenly descending melodies (“The Fool…,” “Jakob”) as they stutter and surge in step with cymbals and emphatically-delivered lyrics. It propels the punch of repeated lyrics, sung then roared over and over (“Phoenix,” “Benandanti”). It creates groove and rippling energy throughout.

It’s only a few missteps that hold Stenahoria back, but they’re not all trivial. The Fifth Alliance have a tendency to weaken a great song with an aspect that doesn’t serve it, usually the insertion of cleans or a more post-hardcore or stoner vibe between the driving melodic and otherwise stirring soundscapes (“Phoenix,” “Benandanti,” “Jakob”). In drifting towards a cleaner sound, the group are evidently experimenting, and it does often pay off, but the diversion into full stoner—save very final movement—”Battle of Barnet” four-fifths of the way through remains at odds with neighbours “The Fool on the Hill” and “Jakob,” where these elements are much better integrated and are quite dull in comparison. More egregious to some will be the clean vocals themselves, which possess a polarizing, half-shouted haughtiness I personally could only forgive on the all-round brilliant centerpiece “The Fool on the Hill,” where their chestiness runs seamlessly into the catharsis of the screams and fantastic compositional climaxes.

Over repeated listens, Stenahoria won me over to the point where I truly enjoyed it in spite of my personal distaste for the singing and its uneven brilliance. The Fifth Alliance don’t rewrite the rulebook, but they have reinvented their sound to a degree and with overall success, maintaining their heaviness and adding depth. If this is the start of a new era for the band, they have a solid future ahead.

Rating: Good
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Tartarus Records | Breathe Plastic | Ardua Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

Dutch black metal geniuses Fluisteraars made a whole series of three EPs where they went to locations of former Dutch castles, wandered around and put their impression on to music. So, since they sing about castles that once were, you could say these castles are litterally; #CastlesInTheSky. Today’s theme of #TuneTuesday

👥 Fluisteraars (Whisperers)
💿 De Kronieken Van Het Verdwenen Kasteel III - Grunsfoort (The Chronicles Of The Vanished Castle III - Grunsfoort)
🎶 Sediment Der Impressies (Sediment of Impressions)
🔗 https://musiccloud.io/p9Ia8

#BlackMetal #DutchMetal

Today's #TuneTuesday theme is #WindowsAndDoors

Songs that are about or mention doors and/or windows.

I had a think about it, and since I'm late posting this I think I'll have to dig a bit deeper.

👥 Laster
💿 Andermans Mijne
🎶 Onzichtbare Muur
:bandcamp: https://laster.bandcamp.com/track/onzichtbare-muur
🔗 https://song.link/i/1694294217

Dutch avant garde black metal act Laster made a song that translates to Invisible Wall, which, let's be honest, could just as well be a window.

#BlackMetal #AvantGardeBlackMetal #DutchMetal

Today for #MusicWomenWednesday and #MittwochMetalMix the Dutch female fronted black metal act Doodswens (Death wish), originally two women making 'trve' black.

During the pandemic they recorded an Isolation Session which I still watch back from time to time.

👥 Doodswens
🔗 https://www.youtube.com/watch?v=b1YsQYOkRyI (bland YT link)

After some changes in lineup Doodswens now comprises a full band, but F. still works with the band creatively.

#BlackMetal #TrveKvlt #DutchMetal

For #BlackMetalMonday an older record, but still a good record from a band that deserves more recognition in the black space.

👥 Shagor
💿 Sotteklugt
:bandcamp: https://shagor.bandcamp.com/album/sotteklugt

Atmospheric, dissonant black metal from the Netherlands. With a lot of early/middle Dutch words sprinkled in.

#BlackMetal #DutchMetal

The new Beyond the Pale line-up, captured again. 🤘

We are deep into rehearsals with our new lead vocalist Bram and the vibe is stronger than ever. We can't wait to unleash this new energy live.

📅 May 10, 2026
📍 Club Hell, Diest (BE)
⚔️ Supporting Pestilence

#BeyondThePale #Metal #DeathMetal #ThrashMetal #thrash #DutchMetal #DeathThrash #metalband #metalband #metalmusic #metalcommunity

https://youtube.com/shorts/RjdEI96kK78?si=H5vhNQA7AZajhGE7

🚨NEW ERA🚨
We’re proud to welcome Bram “Bolo” van Minnen (Necrotaph) as the new lead vocalist of Beyond the Pale 🎤. Bram joins effective immediately.
“With Bram, it felt like someone kicked the door open to a new era… Beyond the Pale sounds more alive than ever,” says Frank (bass/co-vocals).
Bram: “It clicked instantly. I can’t wait to hit the stage and show off some of the new songs.”
Welcome, Bram—let’s make it loud! 🦁

#BeyondThePale #DutchMetal #DeathMetal #ThrashMetal #Metal #Necrotaph #Pestilence #Music #Metalheads #metalvocals #metalvocalist #metalsinger #metalband

https://youtube.com/shorts/hhAyYJ9X-UY?feature=share

POV: You're Beyond the Pale's New Lead Vocalist 🤘😎🤘
Imagine standing at the mic in our rehearsal studio, ready to lead Beyond the Pale. We’ve found the one who will. Full announcement coming soon. Stay tuned!

#metal #metalvocals #metalvocalist #metalvocals #metalmusic #metalsinger #metalband #dutchmetal

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: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

Exelerate – Hell for the Helpless Review

By Grin Reaper

After dropping their self-titled debut in 2023, Exelerate returns with their patented twist of power thrash to unleash Hell for the Helpless. This cross-genre hybrid takes the speed and wiolence of thrash and marries it with the upbeat and anthemic buoyancy of power metal. Megadeth and Dio are listed as primary influences, but I hear more recent Flotsam & Jetsam, Unleash the Archers and Iced Earth. Exelerate skewed heavily toward thrash on their debut, but they tone down the aggression to embrace power metal swagger on Hell for the Helpless. While they continue to flex technical chops and guitar wizardry, the speed and flamboyance of Exelerate take a back seat this go round. Perhaps this is to put a finer point on their new album’s concept, which is billed as an exploration of adverse mental states and the capacity to overcome through healing and understanding. It’s a noble position, and one I believe could connect with listeners, but does the reformulation help Hell for the Helpless cross the finish line, or do they take the foot off the Exelerater and run out of gas?

Generally speaking, concept albums are comprised of an interconnectedness between songs that transcends face value. At the risk of gravely oversimplifying, there are two flavors—narrative and thematic concepts. Hell for the Helpless bears the flag of the latter. Exelerate brings musical congruity, as there are self-referential moments like when the mournful guitar melody from “The Breach” creeps back in toward the end of “The Summoning.” While I admire the cleverly interwoven motifs, it’s not enough to earn the ‘concept’ moniker. The best concept albums merge narrative and thematic cohesion in ways that are immediately accessible yet profoundly tethered, and there’s more Exelerate could have done to distill their message. Adding a story or featuring guest vocalists to represent different mental maladies could have accentuated the nuances of the themes explored. Instead, Hell for the Helpless feels a touch light on conceptual gravity.

Still, Exelerate finds plenty of moments to dazzle with their musicianship, excelling when it comes to hooky guitar licks and throat-searing falsettos. Guitarist Mads Sorensen and guitarist/vocalist Stefan Jensen set fretboards aflame across Hell for the Helpless, slinging neoclassical solos (“The Summoning”) and dispensing frenetic bursts of arpeggiated runs (“A Painful Debt”). There’s nary a track that isn’t sticky with ear candy, and even when the pace slows down (“Falling in Lust”), Sorensen and Jensen make those bad axes wail. Speaking of wailing, Jensen doesn’t hold back during his vocal onslaught. Living somewhere between Queensrÿche’s Geoff Tate and Flotsam & Jetsam’s Eric Knutson, Jensen most frequently occupies power metal’s comfort zone of high-pitched histrionics. At the top end of his register, he bears a passing resemblance to Unleash the Archers’ Brittney Slayes (“Stranger out of Time”). Jensen also dips into growls (“Impending Doom”), adding welcome variation in the back half. The rhythm section earns their keep as well—bassist Io Sklarstrup rumbles along and drummer Stig Eilsøe-Madsen drives the momentum throughout. There aren’t many showy moments for them, but the duo skillfully supports the foundation of Hell for the Helpless.

Despite the slick musicianship and luster of a deft production, Hell for the Helpless falters when evaluated as a whole. Power metal is no stranger to bloat, and the fifty-three-minute runtime is too long for what Exelerate deals out. Six of the ten tracks clear the five-minute mark, but they lack the riff diversity and substance to sustain those lengths. A minute could be trimmed from most tracks and engender a tighter, more focused album, rather than songs seeming like butter scraped over too much bread. Regardless of this and the concept execution stumble, Hell for the Helpless is a success. The mix gives all contributors space to be heard and appreciated, and the guitar tone is perfect for power thrash.

Exelerate’s latest revs my engine, goosing the throttle in lots of right ways. Addictive guitars, supercharged melodies, and singalong choruses deserve at least one spin, although repeated listens will remain a hurdle for some. I quite enjoyed my many listens and think Hell for the Helpless is a bundle of fun. Refining their approach will turbo boost what comes next for Exelerate and I’ll patrol for future releases from these Danes with my fingers crossed that we get the high-octane thrill ride they’re capable of driving.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: From the Vaults
Websites: exelerate.bandcamp.com | exelerate.dk | facebook.com/Exelerateband
Releases Worldwide: September 12th, 2025

#2025 #30 #Dio #DutchMetal #Exelerate #FlotsamJetsam #FromTheVaults #HellForTheHelpless #IcedEarth #Megadeth #PowerMetal #PowerThrash #Queensryche #Review #Reviews #Sep25 #ThrashMetal #UnleashTheArchers

The new album by Terzij De Horde is out and boy, this one booked it straight up to the top of my AOTY-list. The band somehow went harder and more intense while at the same time adding more melodic and open elements.

The struggle in this unjust world are palpable on this record, from the insane and contagious fury of the vocals to the relentless drumming whilst the guitars and layer up layer of riffs and noise.

👥 Terzij De Horde
💿 Our Breath Is Not Ours Alone

https://album.link/t/453440950

Highights; Race Them Towards The Sun & Discarding All Adornments (ft. Cinderwell)

#PostBlackMetal #PostHardcore #FletchsFridayReleases #DutchMetal #RABM

#WhatIsThat is today's theme for today's #TuneTuesday. A question I'm all to familiar with right now.

Songs with unusual instruments, so let's kick it off with a go to suggestion:

👥 Walg (Disgust)
💿 II
🎶 Verlossing (Salvation)
🔗 https://song.link/t/215380264

This song features a hurdy-gurdy up front and central for drone and melody, and it works.

#BlackMetal #DutchMetal #Groningen

New #Gutslasher 🎥📷 #RoosendaalOpenAir video is on its way 👀

🎥📷 by me
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#metalband #dutchmetal #dutchmetalband #metalhead
#metalband
#metalconcert #metalmusic

Wildings, to celebrate the next #BandcampFriday, we're dropping 10 FREE #downloadcodes for our latest release:
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Redeem yours at: https://beyondthepalemetal.bandcamp.com/yum
Thanks for supporting #Metal! 🤘🙏🎸 #DeathMetal #ThrashMetal #DutchMetal

Back from 2 intense days of Dutch underground metal right in time for #BlackMetalMonday.

Lijkschouwer (Coroner) also played this weekend and brought their furious Rotterdam ‘trve kvlt’ black metal to the stage. Relentless assault on the senses, soaring / sawing melodies and obliterating grunts descended on the crowd.

Here is their latest single; https://song.link/t/455366900

#BlackMetal #DutchMetal #Metal