#entheos — Public Fediverse posts

Entheos shows you one of the sleeping spots in their tour van!

#entheos #digitaltourbus #businvaders #tourvan #metalband

Chaney Crabb shows you around the best sleeping spot in the Entheos tour van!

#entheos #tourvan #digitaltourbus #businvaders #tourlife

Entheos reveal who does the driving in their tour van!

#entheos #digitaltourbus #businvaders #tourvan #metalband

Jinjer announce 2026 North American tour with Crystal Lake and Entheos:

#Jinjer #TourAlert #Entheos #CrystalLake

Link: https://metalinsider.net/touring/jinjer-announce-2026-north-american-tour-with-crystal-lake-and-entheos

Jinjer announce 2026 North American tour with Crystal Lake and Entheos:

#Jinjer #TourAlert #Entheos #CrystalLake

Link: https://metalinsider.net/touring/jinjer-announce-2026-north-american-tour-with-crystal-lake-and-entheos

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Metal Blade Video 🤘 Enthoes sits down for a chat on the Garza Podcast! #entheos #metal #heavymetal #suicidesilence: Tune into the full episode here: https://youtu.be/29ZiDZL44T8?si=kaVbhJ7FfTDtno0z http://dlvr.it/TPNxn9 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 Enthoes sits down for a chat on the Garza Podcast! #entheos #metal #heavymetal #suicidesilence: Tune into the full episode here: https://youtu.be/29ZiDZL44T8?si=kaVbhJ7FfTDtno0z http://dlvr.it/TPNxn9 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 Enthoes sits down for a chat on the Garza Podcast! #entheos #metal #heavymetal #suicidesilence: Tune into the full episode here: https://youtu.be/29ZiDZL44T8?si=kaVbhJ7FfTDtno0z http://dlvr.it/TPNxn9 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 Enthoes sits down for a chat on the Garza Podcast! #entheos #metal #heavymetal #suicidesilence: Tune into the full episode here: https://youtu.be/29ZiDZL44T8?si=kaVbhJ7FfTDtno0z http://dlvr.it/TPNxn9 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Metal Blade Video 🤘 Enthoes sits down for a chat on the Garza Podcast! #entheos #metal #heavymetal #suicidesilence: Tune into the full episode here: https://youtu.be/29ZiDZL44T8?si=kaVbhJ7FfTDtno0z http://dlvr.it/TPNxn9 LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Fallujah – Xenotaph Review

By Dolphin Whisperer

Whatever mood suits you—perhaps none at all if you prefer deathly excursions of the older and fetid variety—Fallujah’s alien guitar identity consistently earns them a notch on the altar atop many a post-The Faceless tech death connoisseur’s mantle. Yet, the path that Fallujah walks has not always been one of extreme innovation. Rather, in spindly idiosyncrasies and heavyweight melodic ripples, the California riffslingers have whipped their way from roots in crushing yet entrancing death metal (The Harvest Wombs, The Flesh Prevails), through increasing gazey atmospherics (Dreamless, Undying Light), and into a flexed, teched out expression of all their past lives (Empyrean). And in that same vein of iterative development within a crystallizing, whammy-fluid style, Xenotaph looks to enrich the treble palate of a wanting audience.

Taking pleasure in the brighter vibrations of an extended-range string supply, founding guitarist Scott Carstairs, in closed-eye bends and chord quivers, defines the breathy ambience of Fallujah’s jittery developments. Not world’s away from 2023’s Empyrean, Xenotaph finds a harmonic shell in lush guitar layers that skirt the line between deep atmosphere and technical bounce. And breezing through with a trim song set that navigates a bevy of Cynic-coded trickling riffage (“Labyrinth of Stone,” “The Crystalline Veil”) and kick-saturated sprints (“Kaleidoscopic Waves,” “Xenotaph”) alike, Fallujah weaves a through line of sticky guitar candy. Returning vocalist Kyle Schaefer continues to be a chameleonic—if polarizing to the oldest fans—presence that stitches with aggressive, pitched yells, towering, gruff barks, and glistening, melodic core cleans, allowing Xenotaph to saunter down a familiar but kindly bent road.

In turn, guitar pyrotechnics come stock in the Fallujah package. Carstairs and new recruit Sam Mooradian (Inhale Existence) use their fiery and slippery talents to skew Xenotaph toward flypaper melodies and crunchy atmosphere rather than directionless, shreddy excess. Whether at the twinkle of gentle reverb on clean drives (“In Stars We Drown,” “A Parasitic Dream,” “The Obsidian Architect”), dancing play of panning refrains (“Kaleidoscopic Waves,” “Step…,” “Xenotaph”), or furious tremolo-bouncing riffage, this well-practiced duo makes every stutter-loaded passage feel buttery. In response, the inherent wandering nature of a soundscape that threatens the relaxing alien jazz of a Holdsworth1 finds a grounded landing in Thordendal (Meshuggah, Fredrik Thordendal‘s Special Defects) solo bleating (“Xenotaph”) and the kind of staccato The Faceless riffage that has defined a generation of low-gain, techy endeavors. In a slight step back on the production front, Xenotaph sees bass virtuoso Evan Brewer (Entheos,2 ex-Animosity) relegated to popping backing on skronky chord stabs, muffled boom alongside pitter-patter kick, and light rumble accent. The Otero compression method does succeed, though, in ensuring that each and every guitar passage cuts and twirls and dives with all the precision required to bore deep into a tablature-gawking mind.

Even if some tones find too much restraint, the endless and lush guitar layers that scaffold Xenotaph add to a rewarding, repeatable listen. While Fallujah hasn’t ever dabbled fully in the concept album world, recurring melodies flicker and warp and recontextualize throughout, tying tight pseudo-suites between Xenotaph’s strongest moments (“Labyrinth…” through “Step…,” “A Parasitic Dream” through “Xenotaph”). With this kind of blended and moment-blurry track timeline, though, placing an exact finger on the pulse that penetrates through to memory can be tough. It’s easy to get stuck in which rapid fire kick run3 was it that built tension before a wild solo, or which bent and wobbled dreamy lead carried that choppy riff to another choppy riff or which breakaway melodic chorus punched away to a meditative bridge. But Fallujah revels in extreme detail—the choral recollection that both opens and closes Xenotaph in loop, the chewiest melodic chorus this side of peak Tesseract (“The Crystalline Veil”), the flippant vocal modulations that run wild (“Labyrinth…, “The Obsidian Architect”). In novel pleasantries, Xenotaph finds a comfortable and developmental home.

Fallujah wears a collected calm and fun that can be hard for a veteran tech act to maintain. In Carstairs’ unique and effortless play—the backbone of all this act’s modern efforts—high note count riffage and solos find space to expand and nestle, and flourish. And in his reliable supporting cast, one seemingly cultivated of friendship, Xenotaph follows that same sentiment despite seeing Fallujah again fall into modern production stylings that raise more philosophical sound debate than I’d prefer. But if these are the kinds of questions Fallujah has to ask of their sound to keep growing, I’m content to bear witness to the fruits of their particular brand of floating and flamboyant internal dialogue.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast | Bandcamp
Websites: fallujah.bandcamp.com | facebook.com/fallujahofficial
Releases Worldwide: June 13th, 20254

#2025 #35 #AmericanMetal #AtmosphericDeathMetal #Cynic #Entheos #Fallujah #Jun25 #Meshuggah #ProgressiveDeathMetal #ProgressiveMetalcore #Review #Reviews #TechnicalDeathMetal #TheFaceless #VvonDogmaI #Xenotaph

Fallujah – Xenotaph Review

By Dolphin Whisperer

Whatever mood suits you—perhaps none at all if you prefer deathly excursions of the older and fetid variety—Fallujah’s alien guitar identity consistently earns them a notch on the altar atop many a post-The Faceless tech death connoisseur’s mantle. Yet, the path that Fallujah walks has not always been one of extreme innovation. Rather, in spindly idiosyncrasies and heavyweight melodic ripples, the California riffslingers have whipped their way from roots in crushing yet entrancing death metal (The Harvest Wombs, The Flesh Prevails), through increasing gazey atmospherics (Dreamless, Undying Light), and into a flexed, teched out expression of all their past lives (Empyrean). And in that same vein of iterative development within a crystallizing, whammy-fluid style, Xenotaph looks to enrich the treble palate of a wanting audience.

Taking pleasure in the brighter vibrations of an extended-range string supply, founding guitarist Scott Carstairs, in closed-eye bends and chord quivers, defines the breathy ambience of Fallujah’s jittery developments. Not world’s away from 2023’s Empyrean, Xenotaph finds a harmonic shell in lush guitar layers that skirt the line between deep atmosphere and technical bounce. And breezing through with a trim song set that navigates a bevy of Cynic-coded trickling riffage (“Labyrinth of Stone,” “The Crystalline Veil”) and kick-saturated sprints (“Kaleidoscopic Waves,” “Xenotaph”) alike, Fallujah weaves a through line of sticky guitar candy. Returning vocalist Kyle Schaefer continues to be a chameleonic—if polarizing to the oldest fans—presence that stitches with aggressive, pitched yells, towering, gruff barks, and glistening, melodic core cleans, allowing Xenotaph to saunter down a familiar but kindly bent road.

In turn, guitar pyrotechnics come stock in the Fallujah package. Carstairs and new recruit Sam Mooradian (Inhale Existence) use their fiery and slippery talents to skew Xenotaph toward flypaper melodies and crunchy atmosphere rather than directionless, shreddy excess. Whether at the twinkle of gentle reverb on clean drives (“In Stars We Drown,” “A Parasitic Dream,” “The Obsidian Architect”), dancing play of panning refrains (“Kaleidoscopic Waves,” “Step…,” “Xenotaph”), or furious tremolo-bouncing riffage, this well-practiced duo makes every stutter-loaded passage feel buttery. In response, the inherent wandering nature of a soundscape that threatens the relaxing alien jazz of a Holdsworth1 finds a grounded landing in Thordendal (Meshuggah, Fredrik Thordendal‘s Special Defects) solo bleating (“Xenotaph”) and the kind of staccato The Faceless riffage that has defined a generation of low-gain, techy endeavors. In a slight step back on the production front, Xenotaph sees bass virtuoso Evan Brewer (Entheos,2 ex-Animosity) relegated to popping backing on skronky chord stabs, muffled boom alongside pitter-patter kick, and light rumble accent. The Otero compression method does succeed, though, in ensuring that each and every guitar passage cuts and twirls and dives with all the precision required to bore deep into a tablature-gawking mind.

Even if some tones find too much restraint, the endless and lush guitar layers that scaffold Xenotaph add to a rewarding, repeatable listen. While Fallujah hasn’t ever dabbled fully in the concept album world, recurring melodies flicker and warp and recontextualize throughout, tying tight pseudo-suites between Xenotaph’s strongest moments (“Labyrinth…” through “Step…,” “A Parasitic Dream” through “Xenotaph”). With this kind of blended and moment-blurry track timeline, though, placing an exact finger on the pulse that penetrates through to memory can be tough. It’s easy to get stuck in which rapid fire kick run3 was it that built tension before a wild solo, or which bent and wobbled dreamy lead carried that choppy riff to another choppy riff or which breakaway melodic chorus punched away to a meditative bridge. But Fallujah revels in extreme detail—the choral recollection that both opens and closes Xenotaph in loop, the chewiest melodic chorus this side of peak Tesseract (“The Crystalline Veil”), the flippant vocal modulations that run wild (“Labyrinth…, “The Obsidian Architect”). In novel pleasantries, Xenotaph finds a comfortable and developmental home.

Fallujah wears a collected calm and fun that can be hard for a veteran tech act to maintain. In Carstairs’ unique and effortless play—the backbone of all this act’s modern efforts—high note count riffage and solos find space to expand and nestle, and flourish. And in his reliable supporting cast, one seemingly cultivated of friendship, Xenotaph follows that same sentiment despite seeing Fallujah again fall into modern production stylings that raise more philosophical sound debate than I’d prefer. But if these are the kinds of questions Fallujah has to ask of their sound to keep growing, I’m content to bear witness to the fruits of their particular brand of floating and flamboyant internal dialogue.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast | Bandcamp
Websites: fallujah.bandcamp.com | facebook.com/fallujahofficial
Releases Worldwide: June 13th, 20254

#2025 #35 #AmericanMetal #AtmosphericDeathMetal #Cynic #Entheos #Fallujah #Jun25 #Meshuggah #ProgressiveDeathMetal #ProgressiveMetalcore #Review #Reviews #TechnicalDeathMetal #TheFaceless #VvonDogmaI #Xenotaph

Fallujah – Xenotaph Review

By Dolphin Whisperer

Whatever mood suits you—perhaps none at all if you prefer deathly excursions of the older and fetid variety—Fallujah’s alien guitar identity consistently earns them a notch on the altar atop many a post-The Faceless tech death connoisseur’s mantle. Yet, the path that Fallujah walks has not always been one of extreme innovation. Rather, in spindly idiosyncrasies and heavyweight melodic ripples, the California riffslingers have whipped their way from roots in crushing yet entrancing death metal (The Harvest Wombs, The Flesh Prevails), through increasing gazey atmospherics (Dreamless, Undying Light), and into a flexed, teched out expression of all their past lives (Empyrean). And in that same vein of iterative development within a crystallizing, whammy-fluid style, Xenotaph looks to enrich the treble palate of a wanting audience.

Taking pleasure in the brighter vibrations of an extended-range string supply, founding guitarist Scott Carstairs, in closed-eye bends and chord quivers, defines the breathy ambience of Fallujah’s jittery developments. Not world’s away from 2023’s Empyrean, Xenotaph finds a harmonic shell in lush guitar layers that skirt the line between deep atmosphere and technical bounce. And breezing through with a trim song set that navigates a bevy of Cynic-coded trickling riffage (“Labyrinth of Stone,” “The Crystalline Veil”) and kick-saturated sprints (“Kaleidoscopic Waves,” “Xenotaph”) alike, Fallujah weaves a through line of sticky guitar candy. Returning vocalist Kyle Schaefer continues to be a chameleonic—if polarizing to the oldest fans—presence that stitches with aggressive, pitched yells, towering, gruff barks, and glistening, melodic core cleans, allowing Xenotaph to saunter down a familiar but kindly bent road.

In turn, guitar pyrotechnics come stock in the Fallujah package. Carstairs and new recruit Sam Mooradian (Inhale Existence) use their fiery and slippery talents to skew Xenotaph toward flypaper melodies and crunchy atmosphere rather than directionless, shreddy excess. Whether at the twinkle of gentle reverb on clean drives (“In Stars We Drown,” “A Parasitic Dream,” “The Obsidian Architect”), dancing play of panning refrains (“Kaleidoscopic Waves,” “Step…,” “Xenotaph”), or furious tremolo-bouncing riffage, this well-practiced duo makes every stutter-loaded passage feel buttery. In response, the inherent wandering nature of a soundscape that threatens the relaxing alien jazz of a Holdsworth1 finds a grounded landing in Thordendal (Meshuggah, Fredrik Thordendal‘s Special Defects) solo bleating (“Xenotaph”) and the kind of staccato The Faceless riffage that has defined a generation of low-gain, techy endeavors. In a slight step back on the production front, Xenotaph sees bass virtuoso Evan Brewer (Entheos,2 ex-Animosity) relegated to popping backing on skronky chord stabs, muffled boom alongside pitter-patter kick, and light rumble accent. The Otero compression method does succeed, though, in ensuring that each and every guitar passage cuts and twirls and dives with all the precision required to bore deep into a tablature-gawking mind.

Even if some tones find too much restraint, the endless and lush guitar layers that scaffold Xenotaph add to a rewarding, repeatable listen. While Fallujah hasn’t ever dabbled fully in the concept album world, recurring melodies flicker and warp and recontextualize throughout, tying tight pseudo-suites between Xenotaph’s strongest moments (“Labyrinth…” through “Step…,” “A Parasitic Dream” through “Xenotaph”). With this kind of blended and moment-blurry track timeline, though, placing an exact finger on the pulse that penetrates through to memory can be tough. It’s easy to get stuck in which rapid fire kick run3 was it that built tension before a wild solo, or which bent and wobbled dreamy lead carried that choppy riff to another choppy riff or which breakaway melodic chorus punched away to a meditative bridge. But Fallujah revels in extreme detail—the choral recollection that both opens and closes Xenotaph in loop, the chewiest melodic chorus this side of peak Tesseract (“The Crystalline Veil”), the flippant vocal modulations that run wild (“Labyrinth…, “The Obsidian Architect”). In novel pleasantries, Xenotaph finds a comfortable and developmental home.

Fallujah wears a collected calm and fun that can be hard for a veteran tech act to maintain. In Carstairs’ unique and effortless play—the backbone of all this act’s modern efforts—high note count riffage and solos find space to expand and nestle, and flourish. And in his reliable supporting cast, one seemingly cultivated of friendship, Xenotaph follows that same sentiment despite seeing Fallujah again fall into modern production stylings that raise more philosophical sound debate than I’d prefer. But if these are the kinds of questions Fallujah has to ask of their sound to keep growing, I’m content to bear witness to the fruits of their particular brand of floating and flamboyant internal dialogue.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast | Bandcamp
Websites: fallujah.bandcamp.com | facebook.com/fallujahofficial
Releases Worldwide: June 13th, 20254

#2025 #35 #AmericanMetal #AtmosphericDeathMetal #Cynic #Entheos #Fallujah #Jun25 #Meshuggah #ProgressiveDeathMetal #ProgressiveMetalcore #Review #Reviews #TechnicalDeathMetal #TheFaceless #VvonDogmaI #Xenotaph

Fallujah – Xenotaph Review

By Dolphin Whisperer

Whatever mood suits you—perhaps none at all if you prefer deathly excursions of the older and fetid variety—Fallujah’s alien guitar identity consistently earns them a notch on the altar atop many a post-The Faceless tech death connoisseur’s mantle. Yet, the path that Fallujah walks has not always been one of extreme innovation. Rather, in spindly idiosyncrasies and heavyweight melodic ripples, the California riffslingers have whipped their way from roots in crushing yet entrancing death metal (The Harvest Wombs, The Flesh Prevails), through increasing gazey atmospherics (Dreamless, Undying Light), and into a flexed, teched out expression of all their past lives (Empyrean). And in that same vein of iterative development within a crystallizing, whammy-fluid style, Xenotaph looks to enrich the treble palate of a wanting audience.

Taking pleasure in the brighter vibrations of an extended-range string supply, founding guitarist Scott Carstairs, in closed-eye bends and chord quivers, defines the breathy ambience of Fallujah’s jittery developments. Not world’s away from 2023’s Empyrean, Xenotaph finds a harmonic shell in lush guitar layers that skirt the line between deep atmosphere and technical bounce. And breezing through with a trim song set that navigates a bevy of Cynic-coded trickling riffage (“Labyrinth of Stone,” “The Crystalline Veil”) and kick-saturated sprints (“Kaleidoscopic Waves,” “Xenotaph”) alike, Fallujah weaves a through line of sticky guitar candy. Returning vocalist Kyle Schaefer continues to be a chameleonic—if polarizing to the oldest fans—presence that stitches with aggressive, pitched yells, towering, gruff barks, and glistening, melodic core cleans, allowing Xenotaph to saunter down a familiar but kindly bent road.

In turn, guitar pyrotechnics come stock in the Fallujah package. Carstairs and new recruit Sam Mooradian (Inhale Existence) use their fiery and slippery talents to skew Xenotaph toward flypaper melodies and crunchy atmosphere rather than directionless, shreddy excess. Whether at the twinkle of gentle reverb on clean drives (“In Stars We Drown,” “A Parasitic Dream,” “The Obsidian Architect”), dancing play of panning refrains (“Kaleidoscopic Waves,” “Step…,” “Xenotaph”), or furious tremolo-bouncing riffage, this well-practiced duo makes every stutter-loaded passage feel buttery. In response, the inherent wandering nature of a soundscape that threatens the relaxing alien jazz of a Holdsworth1 finds a grounded landing in Thordendal (Meshuggah, Fredrik Thordendal‘s Special Defects) solo bleating (“Xenotaph”) and the kind of staccato The Faceless riffage that has defined a generation of low-gain, techy endeavors. In a slight step back on the production front, Xenotaph sees bass virtuoso Evan Brewer (Entheos,2 ex-Animosity) relegated to popping backing on skronky chord stabs, muffled boom alongside pitter-patter kick, and light rumble accent. The Otero compression method does succeed, though, in ensuring that each and every guitar passage cuts and twirls and dives with all the precision required to bore deep into a tablature-gawking mind.

Even if some tones find too much restraint, the endless and lush guitar layers that scaffold Xenotaph add to a rewarding, repeatable listen. While Fallujah hasn’t ever dabbled fully in the concept album world, recurring melodies flicker and warp and recontextualize throughout, tying tight pseudo-suites between Xenotaph’s strongest moments (“Labyrinth…” through “Step…,” “A Parasitic Dream” through “Xenotaph”). With this kind of blended and moment-blurry track timeline, though, placing an exact finger on the pulse that penetrates through to memory can be tough. It’s easy to get stuck in which rapid fire kick run3 was it that built tension before a wild solo, or which bent and wobbled dreamy lead carried that choppy riff to another choppy riff or which breakaway melodic chorus punched away to a meditative bridge. But Fallujah revels in extreme detail—the choral recollection that both opens and closes Xenotaph in loop, the chewiest melodic chorus this side of peak Tesseract (“The Crystalline Veil”), the flippant vocal modulations that run wild (“Labyrinth…, “The Obsidian Architect”). In novel pleasantries, Xenotaph finds a comfortable and developmental home.

Fallujah wears a collected calm and fun that can be hard for a veteran tech act to maintain. In Carstairs’ unique and effortless play—the backbone of all this act’s modern efforts—high note count riffage and solos find space to expand and nestle, and flourish. And in his reliable supporting cast, one seemingly cultivated of friendship, Xenotaph follows that same sentiment despite seeing Fallujah again fall into modern production stylings that raise more philosophical sound debate than I’d prefer. But if these are the kinds of questions Fallujah has to ask of their sound to keep growing, I’m content to bear witness to the fruits of their particular brand of floating and flamboyant internal dialogue.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast | Bandcamp
Websites: fallujah.bandcamp.com | facebook.com/fallujahofficial
Releases Worldwide: June 13th, 20254

#2025 #35 #AmericanMetal #AtmosphericDeathMetal #Cynic #Entheos #Fallujah #Jun25 #Meshuggah #ProgressiveDeathMetal #ProgressiveMetalcore #Review #Reviews #TechnicalDeathMetal #TheFaceless #VvonDogmaI #Xenotaph

#BornOfOsiris
#Ingested
#Entheos
#TheVoynichCode
29/05/2025

#LaRayonne

https://www.purgatoire.fr/concerts/concert-543_2025-05-29_born-of-osiris

Metal Blade Video 🤘 Entheos' 'Time Will Take Us All' celebrates its 3rd year TODAY! Dive back into it! #entheos #metal http://dlvr.it/TJJT9G LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

EP / Split / Single Roundup of 2024, Part 1

By Mystikus Hugebeard

In case you’re asking yourself “Where did El Cuervo go and why has he been replaced by a handsome, bearded wizard who is also ripped and buff?” rest assured that all is well with the original EP wrangler. In what could only be described as a Christmas miracle, he has passed the privilege of organizing AMG’s yearly EP post unto myself and Dolphin WhisEPerer so that he might finally have the time to catch up on reading all the comments on his Opeth review. Let it be known that we treat this gravest of responsibilities with the utmost respect.

But enough faffing about, the most important thing is this cornucopia of EP’s, splits, singles, and demos we’ve arranged for you. Shorter-form releases like these are the patron saint of hidden gems. Rarely do they fall in the same hype cycle typically reserved for LP’s, so once a year we like to pay our respects to the oft-overlooked, unsung heroes of our metal community. They provide a necessary space for both fledgling and established bands to experiment with wild ideas that might not sustain a full release, or they can be a great outlet for bands to focus on their strongest material without weaker songs diluting the overall experience. Come, rejoice! Take a well-deserved break from the exhausting bloat of boring, regular albums, and bask in the majesty of the tighter focus and accessibility of short-form release with your bearded pal, Mystikus Hugebeard!

Make sure to return for Part II so that our Dolphin may Whisper1 to you of a whole new collection of releases!

Lathe // Hillclimber – Lathe are what you get when you mix the pedal steel and blues of country music with the atmosphere, weight and build-ups of post-metal. Hillclimber is written for a new lineup, adding an additional guitarist and a bassist, and it shows in the added density of their sound. As with their previous work, Hillclimber builds as it goes. “Weave” provides an almost spacey opening with a simple, twangy guitar melody and pedal steel embellishment. By “Blood,” trem-picked pedal steel, pounding drums and big riffs trade places with amp noise. Hillclimber isn’t revolutionary, hewing close stylistically to the post-ier, less dancy or rocky side of Tongue of Silver. But the riffs are big, the melodies pretty, and the atmosphere dense, and it says promising things about the new lineup. – Sentynel

Mammoth Grinder // Undying Spectral Resonance – Ever since the early 2010s Entombedcore wave fizzled out, I’ve longed for a band to revive that sound. With Undying Spectral Resonance, Mammoth Grinder seem to have answered the call. The band’s punky take on Swedeath has long offered Power Trip drummer Chris Ulsh a brawny way to flex his guitar and vocal abilities, but I never expected him to break Mammoth Grinder’s recording silence with something this heavy. Throughout most of these 14 minutes, Ulsh offers a hoarse roar that’s monstrous, a guitar tone that could crush boulders, and riffs that are downright punishing. “Corpse of Divinant” plows forward on muscular grooves that will have your inner hardcore kiddo dripping with arousal, while “Obsessed with Death” closes out the EP with a D-beating for the ages. Plopping an atmospheric synth interlude in the middle of a five-song tracklist was an odd choice, but at least it makes the midpaced lurch of “Decrease the Peace” sound even more massive. Let’s just hope we get more from these guys sooner rather than later. – Mark Z.

Glassbone // Deaf to Suffering – Frens of the blog know that I love me some good slam. The harder it hammers, the better. And while there were several tectonic options released this year, none hit the way latecomer EP Deaf to Suffering has. Courtesy of French buzzsaw hardcore/slam brutalists Glassbone, Deaf to Suffering springs into action with the absolutely devastating “Post Mortem Declaration” and doesn’t let up for nearly twenty minutes of high-octane, hook-laden, filthy slam. Highlight “In Your Guts” sends me into a feral state with rabid riffs that are as lethal as the disease itself. “Sanctified By the Blade” transforms my body into this musclebound mass of testosterone mountainous enough to flatten entire plots of sequoia trees. The title track even brings a certain old-school death vitriol, characterized best by a classic sounding solo, that adds substantial dynamics to Glassbone’s slam-based concoction. Every song offers its own voice while still maintaining the status quo of total demolition, and yet it feels like Deaf to Suffering elevates the slamscape past the norm and into the extraordinary. –TheKenWord

Counterparts // Heaven Let Them Die – Counterparts is renowned for their confrontational and vulnerable take on melodic hardcore and notable contributions to metalcore. Heaven Let Them Die is the Canadians’ heaviest release by far, delivering the weight of its title in its clear influence from vocalist Brendan Murphy’s time in caustic hardcore act End. With crushing riffs and breakdowns ripped at vicious speed, vocals spit with vitriol and venom, there’s a distinct weight, both aurally and existentially, that gives Heaven Let Them Die its power. From its reverb-laden plods that let the haunting leads guide the blastbeat-inclusive fury (“A Martyr Left Alive,” “Praise No Artery Intact”), to all-out assaults that abuse tempos with their punishing heft (“With Loving Arms Disfigured,” “No Lamb Was Lost”), it’s hard to believe that this is the same group that released You’re Not You Anymore or A Eulogy For Those Still Here. Punishing, vitriolic, and existentially weighty, Counterparts embarks on unforeseen journeys of blasphemy and pain. Closer “Heaven Let Them Die” exemplifies this act’s strengths, tying up the common lyrical motif screamed with throat-shredding intensity, that you’ll be howling for days: “HEAVEN… LET THEM… DIIIIIIEEEEEEEE!!!” – Dear Hollow

夢遊病者 (Sleepwalker) // Delirium Pathomutageno Adductum2 – The last outing by Russian/Japanese/American experimental, avant-garde, blackened noise outfit 夢遊病者, Noč Na Krayu Sveta, was my favorite EP of 2021. This year’s Delirium Pathomutageno Adductum is, if anything, even more unhinged. Like stepping into one of those nightmares that you don’t initially realise is a nightmare, parts of DPA are strangely soothing and delicate, wrapping you in lullaby-like melodies. But then, sometimes without you even noticing at first, warped melodies weave their way into the mix, before distorted, blackened vocals creep in, even as half-heard blast beats start to pound in the background. Shifting through their chameleonic palette, 夢遊病者 deploy bouzouki, uke, vibraphone, church organ and more, alongside more standard instrumentation, to create soundscapes worthy of the title Delirium. Tracked across three continents, this doubtless adds to the disconcerting sense of dizzying vertigo that infuses much of the EP, furthered by contributions from various gospel, Americana, and jazz guests. If you’re looking for a really weird night in, check this out, especially the closing duo of “Telepath Transport Wing” and “Aurum Iris Loop.” – Carcharodon

Entheos // An End to Everything – As Entheos continues to move into waters with increased breaks into clean, melodic refrains as peak points—a step first taken with 2023’s Time Will Take Us All—a continued adherence to their riff-led, groove-centered brand of techy death metal remains vital to their impact. Chunky riff after chunky riff after chunky riff hits first and repeatedly allows An End to Everything to crackle as the leanest both in length and pit-stirring effect of any Entheos album since 2016’s The Infinite Nothing. But more than just offering slinky slide-to-triplet rushes (“And End to Everything”) or snaking staccato beatings (“Life in Slow Motion”), Entheos offers throat-ripping breeeees, snarls, and hissing goblin assaults via Chaney Crabb’s extreme vocal commitment. Though comparable to frequent touring mates Alluvial3 in tone and tumble, Crabb delivers the necessary differentiation, complete with melodic chorus cries that stick like anthemic ear candy to an audience who patiently awaits sweet indulgence. Fit for a fifteen-minute power set, a pre-meeting energy blitz, or simply a destructive arm-throwing about your own home, An End to Everything feels both complete as a short-form work and steadfast a promise that Entheos plans to continue on a grooving path to success. – Dolphin Whisperer

Sylvaine // Eg Er Framand – Widely maligned for their ear-splitting volume and indecipherable vertical chords, pipe organs have a softer, ethereal side that often goes overlooked. Sylvaine’s gorgeous EP pits her otherworldly voice against hypnotic, shimmering high organ registrations, a duet custom-built to melt this frozen heart. Organs are designed for the spaces they inhabit,4 ensuring their resonance melds with the architecture of their home, and the descending spiral motif that bookends “Dagsens Auga Sloknar Ut” and “Tussmørke” duplicates this integration into Sylvaine’s music. There’s something of the eternal about this EP, its vibrating vocal harmonies and sustained wind tones suspending the passage of time and evoking both dusk and dawn. My 2024 opened with a death and ended with a birth; I can think of few soundtracks more fitting than Eg Er Framand. – Iceberg

Persefone // Lingua Ignota Pt. 1 – How shall I put this? What Carcharodon is to Kanonenfieber, I consider myself to Persefone. These Andorrans have always been a masterclass of blending insanely good musicianship with effortless technicality and rousing melodic movements. After longtime vocalist Marc Pia was replaced by Eternal Storm’s Daniel R. Flys, I feared that my beloved Persefone was gone, but I’m happy to say Lingua Ignota Pt. 1 dispelled my doubts. For one, it utilizes what Persefone has always done best; the music growing in intensity at the end of “Lingua Ignota” channels the iconic escalations from “Living Waves” (Aathma) and “Spiritual Migration (Spiritual Migration). However, as always, Lingua Ignota Pt. 1 is another step in Persefone’s evolution. “One Word” is one of Persefone’s most direct songs to date, with a powerful, memorable chorus betwixt tight, technical riffage, and adds a new dimension with Flys’ clean vocals joining Miguel Espinosa’s previously solo cleans. “Abyssal Communication” closes the EP with moving ambience, which Persefone has always loved to do, but follows Metanoia’s further emphasis on synth tones and is pleasantly dynamic, working well as a standalone track instead of just a send-off. It’s all fantastic, because it’s quintessentially Persefone, only now in a bite-sized and endlessly replayable size. Compact and to the point, yet still offering a wide breadth of intoxicating riffs and solos, Lingua Ignota Pt. 1 stands strong in their discography and even brings back a consistency I felt was slightly missing from 2022’s Metanoia. – Mystikus Hugebeard

Dislimn // Esmee – You never appreciate how good Bandcamp can be until a band doesn’t have one, and it has made Dislimn tragically difficult to find. I was lucky to stumble upon them in the promo sump whereupon I made a mental note to check later, but most people lack that kind of resource. Dislimn’s Esmee is a lovely piece of shimmering doomgaze with a heavy stoner edge, and I think they deserve a fair bit more attention than they’ve received. It’s a queer mix of stoner, prog, and post that lands through Dislimn’s impeccable vibes and simple but gripping songwriting. Esmee starts off gentle; the radio-friendly post-lite opener “Anxiety” is the perfect tune to float through a depressive dreamlike haze, but as time passes, the music develops some bite. The riffs in tracks like “Esmee’s Story” and “In My Mind” are straightforward, memorable, and crunchy with just the right amount of fuzz, while vocalist Alix’s dreamlike ever-soft vocals serenely soar above. “Gullfoss” is a bit of an oddball; a rockin’ and a rollin’ riffy jaunt sandwiched between emotive, brooding doomgaze is a bit of a lurch, but it grows on you. Overall, Esmee is the sort of unassuming EP that stealthily sinks its claws into you. I’ve returned to Esmee’s dreamy gloom many a time now, and I reckon you will too. – Mystikus Hugebeard

#2024 #AnEndToEverything #Beatdown #Counterparts #DeafToSuffering #DeathMetal #DeleriumPathomutagenoAdductum #Dislimn #Entheos #Esmee #Glassbone #GothicDoom #GothicRock #Hardcore #HeavenLetThemDie #Hillclimber #Lathe #LinguaIgnotaPt1 #MammothGrinder #Metalcore #Persefone #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Slam #Sleepwalker #TechnicalDeathMetal #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #UndyingSpectralResonance #夢遊病者

EP / Split / Single Roundup of 2024, Part 1

By Mystikus Hugebeard

In case you’re asking yourself “Where did El Cuervo go and why has he been replaced by a handsome, bearded wizard who is also ripped and buff?” rest assured that all is well with the original EP wrangler. In what could only be described as a Christmas miracle, he has passed the privilege of organizing AMG’s yearly EP post unto myself and Dolphin WhisEPerer so that he might finally have the time to catch up on reading all the comments on his Opeth review. Let it be known that we treat this gravest of responsibilities with the utmost respect.

But enough faffing about, the most important thing is this cornucopia of EP’s, splits, singles, and demos we’ve arranged for you. Shorter-form releases like these are the patron saint of hidden gems. Rarely do they fall in the same hype cycle typically reserved for LP’s, so once a year we like to pay our respects to the oft-overlooked, unsung heroes of our metal community. They provide a necessary space for both fledgling and established bands to experiment with wild ideas that might not sustain a full release, or they can be a great outlet for bands to focus on their strongest material without weaker songs diluting the overall experience. Come, rejoice! Take a well-deserved break from the exhausting bloat of boring, regular albums, and bask in the majesty of the tighter focus and accessibility of short-form release with your bearded pal, Mystikus Hugebeard!

Make sure to return for Part II so that our Dolphin may Whisper1 to you of a whole new collection of releases!

Lathe // Hillclimber – Lathe are what you get when you mix the pedal steel and blues of country music with the atmosphere, weight and build-ups of post-metal. Hillclimber is written for a new lineup, adding an additional guitarist and a bassist, and it shows in the added density of their sound. As with their previous work, Hillclimber builds as it goes. “Weave” provides an almost spacey opening with a simple, twangy guitar melody and pedal steel embellishment. By “Blood,” trem-picked pedal steel, pounding drums and big riffs trade places with amp noise. Hillclimber isn’t revolutionary, hewing close stylistically to the post-ier, less dancy or rocky side of Tongue of Silver. But the riffs are big, the melodies pretty, and the atmosphere dense, and it says promising things about the new lineup. – Sentynel

Mammoth Grinder // Undying Spectral Resonance – Ever since the early 2010s Entombedcore wave fizzled out, I’ve longed for a band to revive that sound. With Undying Spectral Resonance, Mammoth Grinder seem to have answered the call. The band’s punky take on Swedeath has long offered Power Trip drummer Chris Ulsh a brawny way to flex his guitar and vocal abilities, but I never expected him to break Mammoth Grinder’s recording silence with something this heavy. Throughout most of these 14 minutes, Ulsh offers a hoarse roar that’s monstrous, a guitar tone that could crush boulders, and riffs that are downright punishing. “Corpse of Divinant” plows forward on muscular grooves that will have your inner hardcore kiddo dripping with arousal, while “Obsessed with Death” closes out the EP with a D-beating for the ages. Plopping an atmospheric synth interlude in the middle of a five-song tracklist was an odd choice, but at least it makes the midpaced lurch of “Decrease the Peace” sound even more massive. Let’s just hope we get more from these guys sooner rather than later. – Mark Z.

Glassbone // Deaf to Suffering – Frens of the blog know that I love me some good slam. The harder it hammers, the better. And while there were several tectonic options released this year, none hit the way latecomer EP Deaf to Suffering has. Courtesy of French buzzsaw hardcore/slam brutalists Glassbone, Deaf to Suffering springs into action with the absolutely devastating “Post Mortem Declaration” and doesn’t let up for nearly twenty minutes of high-octane, hook-laden, filthy slam. Highlight “In Your Guts” sends me into a feral state with rabid riffs that are as lethal as the disease itself. “Sanctified By the Blade” transforms my body into this musclebound mass of testosterone mountainous enough to flatten entire plots of sequoia trees. The title track even brings a certain old-school death vitriol, characterized best by a classic sounding solo, that adds substantial dynamics to Glassbone’s slam-based concoction. Every song offers its own voice while still maintaining the status quo of total demolition, and yet it feels like Deaf to Suffering elevates the slamscape past the norm and into the extraordinary. –TheKenWord

Counterparts // Heaven Let Them Die – Counterparts is renowned for their confrontational and vulnerable take on melodic hardcore and notable contributions to metalcore. Heaven Let Them Die is the Canadians’ heaviest release by far, delivering the weight of its title in its clear influence from vocalist Brendan Murphy’s time in caustic hardcore act End. With crushing riffs and breakdowns ripped at vicious speed, vocals spit with vitriol and venom, there’s a distinct weight, both aurally and existentially, that gives Heaven Let Them Die its power. From its reverb-laden plods that let the haunting leads guide the blastbeat-inclusive fury (“A Martyr Left Alive,” “Praise No Artery Intact”), to all-out assaults that abuse tempos with their punishing heft (“With Loving Arms Disfigured,” “No Lamb Was Lost”), it’s hard to believe that this is the same group that released You’re Not You Anymore or A Eulogy For Those Still Here. Punishing, vitriolic, and existentially weighty, Counterparts embarks on unforeseen journeys of blasphemy and pain. Closer “Heaven Let Them Die” exemplifies this act’s strengths, tying up the common lyrical motif screamed with throat-shredding intensity, that you’ll be howling for days: “HEAVEN… LET THEM… DIIIIIIEEEEEEEE!!!” – Dear Hollow

夢遊病者 (Sleepwalker) // Delirium Pathomutageno Adductum2 – The last outing by Russian/Japanese/American experimental, avant-garde, blackened noise outfit 夢遊病者, Noč Na Krayu Sveta, was my favorite EP of 2021. This year’s Delirium Pathomutageno Adductum is, if anything, even more unhinged. Like stepping into one of those nightmares that you don’t initially realise is a nightmare, parts of DPA are strangely soothing and delicate, wrapping you in lullaby-like melodies. But then, sometimes without you even noticing at first, warped melodies weave their way into the mix, before distorted, blackened vocals creep in, even as half-heard blast beats start to pound in the background. Shifting through their chameleonic palette, 夢遊病者 deploy bouzouki, uke, vibraphone, church organ and more, alongside more standard instrumentation, to create soundscapes worthy of the title Delirium. Tracked across three continents, this doubtless adds to the disconcerting sense of dizzying vertigo that infuses much of the EP, furthered by contributions from various gospel, Americana, and jazz guests. If you’re looking for a really weird night in, check this out, especially the closing duo of “Telepath Transport Wing” and “Aurum Iris Loop.” – Carcharodon

Entheos // An End to Everything – As Entheos continues to move into waters with increased breaks into clean, melodic refrains as peak points—a step first taken with 2023’s Time Will Take Us All—a continued adherence to their riff-led, groove-centered brand of techy death metal remains vital to their impact. Chunky riff after chunky riff after chunky riff hits first and repeatedly allows An End to Everything to crackle as the leanest both in length and pit-stirring effect of any Entheos album since 2016’s The Infinite Nothing. But more than just offering slinky slide-to-triplet rushes (“And End to Everything”) or snaking staccato beatings (“Life in Slow Motion”), Entheos offers throat-ripping breeeees, snarls, and hissing goblin assaults via Chaney Crabb’s extreme vocal commitment. Though comparable to frequent touring mates Alluvial3 in tone and tumble, Crabb delivers the necessary differentiation, complete with melodic chorus cries that stick like anthemic ear candy to an audience who patiently awaits sweet indulgence. Fit for a fifteen-minute power set, a pre-meeting energy blitz, or simply a destructive arm-throwing about your own home, An End to Everything feels both complete as a short-form work and steadfast a promise that Entheos plans to continue on a grooving path to success. – Dolphin Whisperer

Sylvaine // Eg Er Framand – Widely maligned for their ear-splitting volume and indecipherable vertical chords, pipe organs have a softer, ethereal side that often goes overlooked. Sylvaine’s gorgeous EP pits her otherworldly voice against hypnotic, shimmering high organ registrations, a duet custom-built to melt this frozen heart. Organs are designed for the spaces they inhabit,4 ensuring their resonance melds with the architecture of their home, and the descending spiral motif that bookends “Dagsens Auga Sloknar Ut” and “Tussmørke” duplicates this integration into Sylvaine’s music. There’s something of the eternal about this EP, its vibrating vocal harmonies and sustained wind tones suspending the passage of time and evoking both dusk and dawn. My 2024 opened with a death and ended with a birth; I can think of few soundtracks more fitting than Eg Er Framand. – Iceberg

Persefone // Lingua Ignota Pt. 1 – How shall I put this? What Carcharodon is to Kanonenfieber, I consider myself to Persefone. These Andorrans have always been a masterclass of blending insanely good musicianship with effortless technicality and rousing melodic movements. After longtime vocalist Marc Pia was replaced by Eternal Storm’s Daniel R. Flys, I feared that my beloved Persefone was gone, but I’m happy to say Lingua Ignota Pt. 1 dispelled my doubts. For one, it utilizes what Persefone has always done best; the music growing in intensity at the end of “Lingua Ignota” channels the iconic escalations from “Living Waves” (Aathma) and “Spiritual Migration (Spiritual Migration). However, as always, Lingua Ignota Pt. 1 is another step in Persefone’s evolution. “One Word” is one of Persefone’s most direct songs to date, with a powerful, memorable chorus betwixt tight, technical riffage, and adds a new dimension with Flys’ clean vocals joining Miguel Espinosa’s previously solo cleans. “Abyssal Communication” closes the EP with moving ambience, which Persefone has always loved to do, but follows Metanoia’s further emphasis on synth tones and is pleasantly dynamic, working well as a standalone track instead of just a send-off. It’s all fantastic, because it’s quintessentially Persefone, only now in a bite-sized and endlessly replayable size. Compact and to the point, yet still offering a wide breadth of intoxicating riffs and solos, Lingua Ignota Pt. 1 stands strong in their discography and even brings back a consistency I felt was slightly missing from 2022’s Metanoia. – Mystikus Hugebeard

Dislimn // Esmee – You never appreciate how good Bandcamp can be until a band doesn’t have one, and it has made Dislimn tragically difficult to find. I was lucky to stumble upon them in the promo sump whereupon I made a mental note to check later, but most people lack that kind of resource. Dislimn’s Esmee is a lovely piece of shimmering doomgaze with a heavy stoner edge, and I think they deserve a fair bit more attention than they’ve received. It’s a queer mix of stoner, prog, and post that lands through Dislimn’s impeccable vibes and simple but gripping songwriting. Esmee starts off gentle; the radio-friendly post-lite opener “Anxiety” is the perfect tune to float through a depressive dreamlike haze, but as time passes, the music develops some bite. The riffs in tracks like “Esmee’s Story” and “In My Mind” are straightforward, memorable, and crunchy with just the right amount of fuzz, while vocalist Alix’s dreamlike ever-soft vocals serenely soar above. “Gullfoss” is a bit of an oddball; a rockin’ and a rollin’ riffy jaunt sandwiched between emotive, brooding doomgaze is a bit of a lurch, but it grows on you. Overall, Esmee is the sort of unassuming EP that stealthily sinks its claws into you. I’ve returned to Esmee’s dreamy gloom many a time now, and I reckon you will too. – Mystikus Hugebeard

#2024 #AnEndToEverything #Beatdown #Counterparts #DeafToSuffering #DeathMetal #DeleriumPathomutagenoAdductum #Dislimn #Entheos #Esmee #Glassbone #GothicDoom #GothicRock #Hardcore #HeavenLetThemDie #Hillclimber #Lathe #LinguaIgnotaPt1 #MammothGrinder #Metalcore #Persefone #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Slam #Sleepwalker #TechnicalDeathMetal #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #UndyingSpectralResonance #夢遊病者

EP / Split / Single Roundup of 2024, Part 1

By Mystikus Hugebeard

In case you’re asking yourself “Where did El Cuervo go and why has he been replaced by a handsome, bearded wizard who is also ripped and buff?” rest assured that all is well with the original EP wrangler. In what could only be described as a Christmas miracle, he has passed the privilege of organizing AMG’s yearly EP post unto myself and Dolphin WhisEPerer so that he might finally have the time to catch up on reading all the comments on his Opeth review. Let it be known that we treat this gravest of responsibilities with the utmost respect.

But enough faffing about, the most important thing is this cornucopia of EP’s, splits, singles, and demos we’ve arranged for you. Shorter-form releases like these are the patron saint of hidden gems. Rarely do they fall in the same hype cycle typically reserved for LP’s, so once a year we like to pay our respects to the oft-overlooked, unsung heroes of our metal community. They provide a necessary space for both fledgling and established bands to experiment with wild ideas that might not sustain a full release, or they can be a great outlet for bands to focus on their strongest material without weaker songs diluting the overall experience. Come, rejoice! Take a well-deserved break from the exhausting bloat of boring, regular albums, and bask in the majesty of the tighter focus and accessibility of short-form release with your bearded pal, Mystikus Hugebeard!

Make sure to return for Part II so that our Dolphin may Whisper1 to you of a whole new collection of releases!

Lathe // Hillclimber – Lathe are what you get when you mix the pedal steel and blues of country music with the atmosphere, weight and build-ups of post-metal. Hillclimber is written for a new lineup, adding an additional guitarist and a bassist, and it shows in the added density of their sound. As with their previous work, Hillclimber builds as it goes. “Weave” provides an almost spacey opening with a simple, twangy guitar melody and pedal steel embellishment. By “Blood,” trem-picked pedal steel, pounding drums and big riffs trade places with amp noise. Hillclimber isn’t revolutionary, hewing close stylistically to the post-ier, less dancy or rocky side of Tongue of Silver. But the riffs are big, the melodies pretty, and the atmosphere dense, and it says promising things about the new lineup. – Sentynel

Mammoth Grinder // Undying Spectral Resonance – Ever since the early 2010s Entombedcore wave fizzled out, I’ve longed for a band to revive that sound. With Undying Spectral Resonance, Mammoth Grinder seem to have answered the call. The band’s punky take on Swedeath has long offered Power Trip drummer Chris Ulsh a brawny way to flex his guitar and vocal abilities, but I never expected him to break Mammoth Grinder’s recording silence with something this heavy. Throughout most of these 14 minutes, Ulsh offers a hoarse roar that’s monstrous, a guitar tone that could crush boulders, and riffs that are downright punishing. “Corpse of Divinant” plows forward on muscular grooves that will have your inner hardcore kiddo dripping with arousal, while “Obsessed with Death” closes out the EP with a D-beating for the ages. Plopping an atmospheric synth interlude in the middle of a five-song tracklist was an odd choice, but at least it makes the midpaced lurch of “Decrease the Peace” sound even more massive. Let’s just hope we get more from these guys sooner rather than later. – Mark Z.

Glassbone // Deaf to Suffering – Frens of the blog know that I love me some good slam. The harder it hammers, the better. And while there were several tectonic options released this year, none hit the way latecomer EP Deaf to Suffering has. Courtesy of French buzzsaw hardcore/slam brutalists Glassbone, Deaf to Suffering springs into action with the absolutely devastating “Post Mortem Declaration” and doesn’t let up for nearly twenty minutes of high-octane, hook-laden, filthy slam. Highlight “In Your Guts” sends me into a feral state with rabid riffs that are as lethal as the disease itself. “Sanctified By the Blade” transforms my body into this musclebound mass of testosterone mountainous enough to flatten entire plots of sequoia trees. The title track even brings a certain old-school death vitriol, characterized best by a classic sounding solo, that adds substantial dynamics to Glassbone’s slam-based concoction. Every song offers its own voice while still maintaining the status quo of total demolition, and yet it feels like Deaf to Suffering elevates the slamscape past the norm and into the extraordinary. –TheKenWord

Counterparts // Heaven Let Them Die – Counterparts is renowned for their confrontational and vulnerable take on melodic hardcore and notable contributions to metalcore. Heaven Let Them Die is the Canadians’ heaviest release by far, delivering the weight of its title in its clear influence from vocalist Brendan Murphy’s time in caustic hardcore act End. With crushing riffs and breakdowns ripped at vicious speed, vocals spit with vitriol and venom, there’s a distinct weight, both aurally and existentially, that gives Heaven Let Them Die its power. From its reverb-laden plods that let the haunting leads guide the blastbeat-inclusive fury (“A Martyr Left Alive,” “Praise No Artery Intact”), to all-out assaults that abuse tempos with their punishing heft (“With Loving Arms Disfigured,” “No Lamb Was Lost”), it’s hard to believe that this is the same group that released You’re Not You Anymore or A Eulogy For Those Still Here. Punishing, vitriolic, and existentially weighty, Counterparts embarks on unforeseen journeys of blasphemy and pain. Closer “Heaven Let Them Die” exemplifies this act’s strengths, tying up the common lyrical motif screamed with throat-shredding intensity, that you’ll be howling for days: “HEAVEN… LET THEM… DIIIIIIEEEEEEEE!!!” – Dear Hollow

夢遊病者 (Sleepwalker) // Delirium Pathomutageno Adductum2 – The last outing by Russian/Japanese/American experimental, avant-garde, blackened noise outfit 夢遊病者, Noč Na Krayu Sveta, was my favorite EP of 2021. This year’s Delirium Pathomutageno Adductum is, if anything, even more unhinged. Like stepping into one of those nightmares that you don’t initially realise is a nightmare, parts of DPA are strangely soothing and delicate, wrapping you in lullaby-like melodies. But then, sometimes without you even noticing at first, warped melodies weave their way into the mix, before distorted, blackened vocals creep in, even as half-heard blast beats start to pound in the background. Shifting through their chameleonic palette, 夢遊病者 deploy bouzouki, uke, vibraphone, church organ and more, alongside more standard instrumentation, to create soundscapes worthy of the title Delirium. Tracked across three continents, this doubtless adds to the disconcerting sense of dizzying vertigo that infuses much of the EP, furthered by contributions from various gospel, Americana, and jazz guests. If you’re looking for a really weird night in, check this out, especially the closing duo of “Telepath Transport Wing” and “Aurum Iris Loop.” – Carcharodon

Entheos // An End to Everything – As Entheos continues to move into waters with increased breaks into clean, melodic refrains as peak points—a step first taken with 2023’s Time Will Take Us All—a continued adherence to their riff-led, groove-centered brand of techy death metal remains vital to their impact. Chunky riff after chunky riff after chunky riff hits first and repeatedly allows An End to Everything to crackle as the leanest both in length and pit-stirring effect of any Entheos album since 2016’s The Infinite Nothing. But more than just offering slinky slide-to-triplet rushes (“And End to Everything”) or snaking staccato beatings (“Life in Slow Motion”), Entheos offers throat-ripping breeeees, snarls, and hissing goblin assaults via Chaney Crabb’s extreme vocal commitment. Though comparable to frequent touring mates Alluvial3 in tone and tumble, Crabb delivers the necessary differentiation, complete with melodic chorus cries that stick like anthemic ear candy to an audience who patiently awaits sweet indulgence. Fit for a fifteen-minute power set, a pre-meeting energy blitz, or simply a destructive arm-throwing about your own home, An End to Everything feels both complete as a short-form work and steadfast a promise that Entheos plans to continue on a grooving path to success. – Dolphin Whisperer

Sylvaine // Eg Er Framand – Widely maligned for their ear-splitting volume and indecipherable vertical chords, pipe organs have a softer, ethereal side that often goes overlooked. Sylvaine’s gorgeous EP pits her otherworldly voice against hypnotic, shimmering high organ registrations, a duet custom-built to melt this frozen heart. Organs are designed for the spaces they inhabit,4 ensuring their resonance melds with the architecture of their home, and the descending spiral motif that bookends “Dagsens Auga Sloknar Ut” and “Tussmørke” duplicates this integration into Sylvaine’s music. There’s something of the eternal about this EP, its vibrating vocal harmonies and sustained wind tones suspending the passage of time and evoking both dusk and dawn. My 2024 opened with a death and ended with a birth; I can think of few soundtracks more fitting than Eg Er Framand. – Iceberg

Persefone // Lingua Ignota Pt. 1 – How shall I put this? What Carcharodon is to Kanonenfieber, I consider myself to Persefone. These Andorrans have always been a masterclass of blending insanely good musicianship with effortless technicality and rousing melodic movements. After longtime vocalist Marc Pia was replaced by Eternal Storm’s Daniel R. Flys, I feared that my beloved Persefone was gone, but I’m happy to say Lingua Ignota Pt. 1 dispelled my doubts. For one, it utilizes what Persefone has always done best; the music growing in intensity at the end of “Lingua Ignota” channels the iconic escalations from “Living Waves” (Aathma) and “Spiritual Migration (Spiritual Migration). However, as always, Lingua Ignota Pt. 1 is another step in Persefone’s evolution. “One Word” is one of Persefone’s most direct songs to date, with a powerful, memorable chorus betwixt tight, technical riffage, and adds a new dimension with Flys’ clean vocals joining Miguel Espinosa’s previously solo cleans. “Abyssal Communication” closes the EP with moving ambience, which Persefone has always loved to do, but follows Metanoia’s further emphasis on synth tones and is pleasantly dynamic, working well as a standalone track instead of just a send-off. It’s all fantastic, because it’s quintessentially Persefone, only now in a bite-sized and endlessly replayable size. Compact and to the point, yet still offering a wide breadth of intoxicating riffs and solos, Lingua Ignota Pt. 1 stands strong in their discography and even brings back a consistency I felt was slightly missing from 2022’s Metanoia. – Mystikus Hugebeard

Dislimn // Esmee – You never appreciate how good Bandcamp can be until a band doesn’t have one, and it has made Dislimn tragically difficult to find. I was lucky to stumble upon them in the promo sump whereupon I made a mental note to check later, but most people lack that kind of resource. Dislimn’s Esmee is a lovely piece of shimmering doomgaze with a heavy stoner edge, and I think they deserve a fair bit more attention than they’ve received. It’s a queer mix of stoner, prog, and post that lands through Dislimn’s impeccable vibes and simple but gripping songwriting. Esmee starts off gentle; the radio-friendly post-lite opener “Anxiety” is the perfect tune to float through a depressive dreamlike haze, but as time passes, the music develops some bite. The riffs in tracks like “Esmee’s Story” and “In My Mind” are straightforward, memorable, and crunchy with just the right amount of fuzz, while vocalist Alix’s dreamlike ever-soft vocals serenely soar above. “Gullfoss” is a bit of an oddball; a rockin’ and a rollin’ riffy jaunt sandwiched between emotive, brooding doomgaze is a bit of a lurch, but it grows on you. Overall, Esmee is the sort of unassuming EP that stealthily sinks its claws into you. I’ve returned to Esmee’s dreamy gloom many a time now, and I reckon you will too. – Mystikus Hugebeard

#2024 #AnEndToEverything #Beatdown #Counterparts #DeafToSuffering #DeathMetal #DeleriumPathomutagenoAdductum #Dislimn #Entheos #Esmee #Glassbone #GothicDoom #GothicRock #Hardcore #HeavenLetThemDie #Hillclimber #Lathe #LinguaIgnotaPt1 #MammothGrinder #Metalcore #Persefone #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Slam #Sleepwalker #TechnicalDeathMetal #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #UndyingSpectralResonance #夢遊病者

Metal Blade Video 🤘 Entheos 'An End To Everything' OUT NOW! #entheos #techdeath #deathmetal #metalblade #metal http://dlvr.it/TFkM5p LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

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#MetalInjection
Metal Injection's Top Tracks Of The Week, 9/26/2024

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/metal-injections-top-tracks-of-the-week-9-26-2024

#LinkinPark #Spiritbox #Behemoth #Opeth #Undeath #Tribulation #Entheos #FumingMouth #Maul #RippedToShreds #JerryCantrell

#TheMetalDogArticleList
#MetalInjection
Metal Injection's Top Tracks Of The Week, 9/26/2024

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/metal-injections-top-tracks-of-the-week-9-26-2024

#LinkinPark #Spiritbox #Behemoth #Opeth #Undeath #Tribulation #Entheos #FumingMouth #Maul #RippedToShreds #JerryCantrell

#TheMetalDogArticleList
#MetalInjection
Metal Injection's Top Tracks Of The Week, 9/26/2024

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/metal-injections-top-tracks-of-the-week-9-26-2024

#LinkinPark #Spiritbox #Behemoth #Opeth #Undeath #Tribulation #Entheos #FumingMouth #Maul #RippedToShreds #JerryCantrell

#TheMetalDogArticleList
#MetalInjection
Metal Injection's Top Tracks Of The Week, 9/26/2024

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/metal-injections-top-tracks-of-the-week-9-26-2024

#LinkinPark #Spiritbox #Behemoth #Opeth #Undeath #Tribulation #Entheos #FumingMouth #Maul #RippedToShreds #JerryCantrell

#TheMetalDogArticleList
#MetalInjection
Metal Injection's Top Tracks Of The Week, 9/26/2024

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/metal-injections-top-tracks-of-the-week-9-26-2024

#LinkinPark #Spiritbox #Behemoth #Opeth #Undeath #Tribulation #Entheos #FumingMouth #Maul #RippedToShreds #JerryCantrell

Whelp, disappointing Linkin Park news aside...

#Entheos just put out another track from their upcoming EP

"A Thousand Days"

https://youtu.be/rttDAatSAIc?si=B2vMxMudpnHUYkxX

#deathmetal #techdeath #deathcore #djent

#TheMetalDogArticleList
#MetalSucks
Entheos Release “A Thousand Days” Single

https://www.metalsucks.net/2024/09/05/entheos-release-a-thousand-days-single/

#Entheos #AThousandDays

#TheMetalDogArticleList
#MetalInjection
ENTHEOS Streams New Single "A Thousand Days"

https://metalinjection.net/video/entheos-streams-new-single-a-thousand-days

#ENTHEOS #AThousandDays

#TheMetalDogArticleList
#MetalInjection
ENTHEOS Announces New EP, Streams "All For Nothing"
Entheos has been on fire lately.

https://metalinjection.net/video/entheos-announces-new-ep-streams-all-for-nothing

#Entheos #AnEndToEverything

#TheMetalDogArticleList
#MetalInjection
These Are The Best 13 Singles Of The Week 5/31
Featuring Nile, Leprous, Entheos, Cavalera, Kittie, Ulver, and more!

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/these-are-the-best-13-singles-of-the-week-5-31

#nile #leprous #entheos #cavalera #kittie #ulver #kaonashi #crystallake

#TheMetalDogArticleList
#MetalInjection
KITTIE, CRYPT SERMON, ENTHEOS & More Among Metal Injection's Weekly Top Tracks
Plus Orange Goblin, Wardruna, Grand Cadaver, and more!

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/kittie-crypt-sermon-entheos-more-among-metal-injections-weekly-top-tracks

#Kittie #CryptSermon #Entheos #OrangeGoblin #Wardruna #GrandCadaver #UmbraVitae #Cognitive #Candy #KnockedLoose #MetalInjectionTopTracks #NewAdditions #Spotify #AppleMusic

Kilter/Andromeda Anarchia/Growlers Choir/Seven)Suns – La Suspendida Review

By Dear Hollow

Never before had I met a Promo God-designated genre-tag so perfect: “silliness.” La Suspendida is a wildly experimental Silent Pendulum-backed collaboration of four artists – and I’m not gonna pretend I know each of the act’s respective history or discography. Mostly based in Brooklyn, Kilter is a jazz metal trio featuring Imperial Triumphant drummer Kenny Grohowski, Andromeda Anarchia is an opera soprano and also a member of the opera/black metal Folterkammer project, the Growlers Choir is a Montreal-based group of metal vocalists (including growlers of Basalte, Spectral Wound, and Entheos, and others),1 and Seven)Suns is a “dystopian” string quartet dedicated to translating metal to strings.2 You’re in for a night at the opera – FROM HELL (sorta).

Still with me? Cool. La Suspendida not only reconciles its manic range of personnel with the whackiest breed of music this side of the Hudson, but it also sports an equally ridiculous theme and story to go along with it. Inspired by a true and truly fucked up story, Cuban divorcee Maria Elena Milagros dies of tuberculosis in Key West and is suspended in the state between life and death due to the sexual acts of obsessed doctor with mommy issues Carl Tanzler. A tale of heritage, forbidden love, and of course necrophilia is translated into 80 minutes of death metal/ambient/jazz/opera that recalls the feelings of mania and insanity. Its ambition is noteworthy, but uh, what the fuck?

If you thought a Folterkammer–Naked City–The Lovecraft Sextet knife fight behind the old Kmart while Corpsegrinder watches, you’re not far off. “The Ballad of Maria Elena” and “Arguments at the Gates of Death, Part 1 – You can’t drag me through your gate” are a solid duo encapsulating La Suspendida, with jazzy bass and Andromeda Anarchia’s dramatic belts guiding (representing Maria’s voice), sound collapses into death metal growls (Death and the dead) and wonky rhythms, while the steadily darkening strings of Seven)Suns add a distinct madness. While metal brutality is a forgone element, when Kilter’s groove finds its footing, truly remarkable moments spawn, such as the instantly memorable “Overture – Death & Transfiguration,” the waltzing “Song of the Countess” and the groovy “My Corpse, Your Dungeon.” When Seven)Suns guide things in tracks like “Limbo – A Place with No Weather” and “Afterglow,” droning ambiance and Andromeda Anarchia’s charismatic belts and maniacal screams take precedence, but they are a hypnotizing duo that accurately portrays the afterlife’s foggy nature.

As a whole, La Suspendida’s fusion of the Big Apple urban jazz vibe with classical opera archaism is strange, but with every other kitchen sink tossed in you’ve got yourself an audio conundrum. There are too many ambient tracks, and some songs just don’t land, because there exists no structure, melody, or motif to tether to. “Interlude – Arrival” is too monotonous, “Laudes Mortuorum & Roll Call of the Newly Dead” and “Arguments from the Gates of Death Part 3 – The hypocrites of the light (Tutti)” never quite find their footing in awkward rhythms and all bark, no bite, while “Interlude – Moments of Stillness” feels like an awkward Imperial Triumphant b-side. In terms of contributions, Andromeda Anarchia and Kilter do the heavy lifting, while Seven)Suns could stand more screen time, but Growlers Choir’s howls would translate better in a live setting. Then there are the lyrics, which attempt to paint the necrophiliac doctor in a sympathetic light but end up as painful.3

La Suspendida is a doozy. It’s overlong, imbalanced, inconsistent, full of filler tracks, sorely lacking any brutality, lyrically off-putting and many elements don’t translate well in a recorded setting – also not helped by Sleepytime Gorilla Museum’s formidable comeback and better album. However, there’s just something lovable about La Suspendida’s hodgepodge. When the stars align, it’s truly a monumental force to be reckoned with (“The Ballad of Maria Elena”), and even its more contemplative moments feel intentional and moving. At the end of the day, don’t let the score below make you think that this thing is a doldrum for all its moving parts: it’s truly loveable, colossally ambitious, and starkly awkward. Ultimately, it’s silliness through and through.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Silent Pendulum Records
Websites: kiltertrio.bandcamp.com | www.andromeda-anarchia.com | sevensunsmusic.com | www.growlerschoir.com
Releases Worldwide: March 15th, 2024

#2024 #30 #AndromedaAnarchia #AvantGardeMetal #Basalte #DarkAmbient #DarkJazz #DeathMetal #Entheos #Folterkammer #GrowlersChoir #ImperialTriumphant #Jazz #jazzMetal #Kilter #Mar24 #NakedCity #Opera #Review #Reviews #SevenSuns #SilentPendulumRecords #SleepytimeGorillaMuseum #SoHideous #SpectralWound #TheLovecraftSextet

Kilter/Andromeda Anarchia/Growlers Choir/Seven)Suns – La Suspendida Review

By Dear Hollow

Never before had I met a Promo God-designated genre-tag so perfect: “silliness.” La Suspendida is a wildly experimental Silent Pendulum-backed collaboration of four artists – and I’m not gonna pretend I know each of the act’s respective history or discography. Mostly based in Brooklyn, Kilter is a jazz metal trio featuring Imperial Triumphant drummer Kenny Grohowski, Andromeda Anarchia is an opera soprano and also a member of the opera/black metal Folterkammer project, the Growlers Choir is a Montreal-based group of metal vocalists (including growlers of Basalte, Spectral Wound, and Entheos, and others),1 and Seven)Suns is a “dystopian” string quartet dedicated to translating metal to strings.2 You’re in for a night at the opera – FROM HELL (sorta).

Still with me? Cool. La Suspendida not only reconciles its manic range of personnel with the whackiest breed of music this side of the Hudson, but it also sports an equally ridiculous theme and story to go along with it. Inspired by a true and truly fucked up story, Cuban divorcee Maria Elena Milagros dies of tuberculosis in Key West and is suspended in the state between life and death due to the sexual acts of obsessed doctor with mommy issues Carl Tanzler. A tale of heritage, forbidden love, and of course necrophilia is translated into 80 minutes of death metal/ambient/jazz/opera that recalls the feelings of mania and insanity. Its ambition is noteworthy, but uh, what the fuck?

If you thought a Folterkammer–Naked City–The Lovecraft Sextet knife fight behind the old Kmart while Corpsegrinder watches, you’re not far off. “The Ballad of Maria Elena” and “Arguments at the Gates of Death, Part 1 – You can’t drag me through your gate” are a solid duo encapsulating La Suspendida, with jazzy bass and Andromeda Anarchia’s dramatic belts guiding (representing Maria’s voice), sound collapses into death metal growls (Death and the dead) and wonky rhythms, while the steadily darkening strings of Seven)Suns add a distinct madness. While metal brutality is a forgone element, when Kilter’s groove finds its footing, truly remarkable moments spawn, such as the instantly memorable “Overture – Death & Transfiguration,” the waltzing “Song of the Countess” and the groovy “My Corpse, Your Dungeon.” When Seven)Suns guide things in tracks like “Limbo – A Place with No Weather” and “Afterglow,” droning ambiance and Andromeda Anarchia’s charismatic belts and maniacal screams take precedence, but they are a hypnotizing duo that accurately portrays the afterlife’s foggy nature.

As a whole, La Suspendida’s fusion of the Big Apple urban jazz vibe with classical opera archaism is strange, but with every other kitchen sink tossed in you’ve got yourself an audio conundrum. There are too many ambient tracks, and some songs just don’t land, because there exists no structure, melody, or motif to tether to. “Interlude – Arrival” is too monotonous, “Laudes Mortuorum & Roll Call of the Newly Dead” and “Arguments from the Gates of Death Part 3 – The hypocrites of the light (Tutti)” never quite find their footing in awkward rhythms and all bark, no bite, while “Interlude – Moments of Stillness” feels like an awkward Imperial Triumphant b-side. In terms of contributions, Andromeda Anarchia and Kilter do the heavy lifting, while Seven)Suns could stand more screen time, but Growlers Choir’s howls would translate better in a live setting. Then there are the lyrics, which attempt to paint the necrophiliac doctor in a sympathetic light but end up as painful.3

La Suspendida is a doozy. It’s overlong, imbalanced, inconsistent, full of filler tracks, sorely lacking any brutality, lyrically off-putting and many elements don’t translate well in a recorded setting – also not helped by Sleepytime Gorilla Museum’s formidable comeback and better album. However, there’s just something lovable about La Suspendida’s hodgepodge. When the stars align, it’s truly a monumental force to be reckoned with (“The Ballad of Maria Elena”), and even its more contemplative moments feel intentional and moving. At the end of the day, don’t let the score below make you think that this thing is a doldrum for all its moving parts: it’s truly loveable, colossally ambitious, and starkly awkward. Ultimately, it’s silliness through and through.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Silent Pendulum Records
Websites: kiltertrio.bandcamp.com | www.andromeda-anarchia.com | sevensunsmusic.com | www.growlerschoir.com
Releases Worldwide: March 15th, 2024

#2024 #30 #AndromedaAnarchia #AvantGardeMetal #Basalte #DarkAmbient #DarkJazz #DeathMetal #Entheos #Folterkammer #GrowlersChoir #ImperialTriumphant #Jazz #jazzMetal #Kilter #Mar24 #NakedCity #Opera #Review #Reviews #SevenSuns #SilentPendulumRecords #SleepytimeGorillaMuseum #SoHideous #SpectralWound #TheLovecraftSextet

Kilter/Andromeda Anarchia/Growlers Choir/Seven)Suns – La Suspendida Review

By Dear Hollow

Never before had I met a Promo God-designated genre-tag so perfect: “silliness.” La Suspendida is a wildly experimental Silent Pendulum-backed collaboration of four artists – and I’m not gonna pretend I know each of the act’s respective history or discography. Mostly based in Brooklyn, Kilter is a jazz metal trio featuring Imperial Triumphant drummer Kenny Grohowski, Andromeda Anarchia is an opera soprano and also a member of the opera/black metal Folterkammer project, the Growlers Choir is a Montreal-based group of metal vocalists (including growlers of Basalte, Spectral Wound, and Entheos, and others),1 and Seven)Suns is a “dystopian” string quartet dedicated to translating metal to strings.2 You’re in for a night at the opera – FROM HELL (sorta).

Still with me? Cool. La Suspendida not only reconciles its manic range of personnel with the whackiest breed of music this side of the Hudson, but it also sports an equally ridiculous theme and story to go along with it. Inspired by a true and truly fucked up story, Cuban divorcee Maria Elena Milagros dies of tuberculosis in Key West and is suspended in the state between life and death due to the sexual acts of obsessed doctor with mommy issues Carl Tanzler. A tale of heritage, forbidden love, and of course necrophilia is translated into 80 minutes of death metal/ambient/jazz/opera that recalls the feelings of mania and insanity. Its ambition is noteworthy, but uh, what the fuck?

If you thought a Folterkammer–Naked City–The Lovecraft Sextet knife fight behind the old Kmart while Corpsegrinder watches, you’re not far off. “The Ballad of Maria Elena” and “Arguments at the Gates of Death, Part 1 – You can’t drag me through your gate” are a solid duo encapsulating La Suspendida, with jazzy bass and Andromeda Anarchia’s dramatic belts guiding (representing Maria’s voice), sound collapses into death metal growls (Death and the dead) and wonky rhythms, while the steadily darkening strings of Seven)Suns add a distinct madness. While metal brutality is a forgone element, when Kilter’s groove finds its footing, truly remarkable moments spawn, such as the instantly memorable “Overture – Death & Transfiguration,” the waltzing “Song of the Countess” and the groovy “My Corpse, Your Dungeon.” When Seven)Suns guide things in tracks like “Limbo – A Place with No Weather” and “Afterglow,” droning ambiance and Andromeda Anarchia’s charismatic belts and maniacal screams take precedence, but they are a hypnotizing duo that accurately portrays the afterlife’s foggy nature.

As a whole, La Suspendida’s fusion of the Big Apple urban jazz vibe with classical opera archaism is strange, but with every other kitchen sink tossed in you’ve got yourself an audio conundrum. There are too many ambient tracks, and some songs just don’t land, because there exists no structure, melody, or motif to tether to. “Interlude – Arrival” is too monotonous, “Laudes Mortuorum & Roll Call of the Newly Dead” and “Arguments from the Gates of Death Part 3 – The hypocrites of the light (Tutti)” never quite find their footing in awkward rhythms and all bark, no bite, while “Interlude – Moments of Stillness” feels like an awkward Imperial Triumphant b-side. In terms of contributions, Andromeda Anarchia and Kilter do the heavy lifting, while Seven)Suns could stand more screen time, but Growlers Choir’s howls would translate better in a live setting. Then there are the lyrics, which attempt to paint the necrophiliac doctor in a sympathetic light but end up as painful.3

La Suspendida is a doozy. It’s overlong, imbalanced, inconsistent, full of filler tracks, sorely lacking any brutality, lyrically off-putting and many elements don’t translate well in a recorded setting – also not helped by Sleepytime Gorilla Museum’s formidable comeback and better album. However, there’s just something lovable about La Suspendida’s hodgepodge. When the stars align, it’s truly a monumental force to be reckoned with (“The Ballad of Maria Elena”), and even its more contemplative moments feel intentional and moving. At the end of the day, don’t let the score below make you think that this thing is a doldrum for all its moving parts: it’s truly loveable, colossally ambitious, and starkly awkward. Ultimately, it’s silliness through and through.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Silent Pendulum Records
Websites: kiltertrio.bandcamp.com | www.andromeda-anarchia.com | sevensunsmusic.com | www.growlerschoir.com
Releases Worldwide: March 15th, 2024

#2024 #30 #AndromedaAnarchia #AvantGardeMetal #Basalte #DarkAmbient #DarkJazz #DeathMetal #Entheos #Folterkammer #GrowlersChoir #ImperialTriumphant #Jazz #jazzMetal #Kilter #Mar24 #NakedCity #Opera #Review #Reviews #SevenSuns #SilentPendulumRecords #SleepytimeGorillaMuseum #SoHideous #SpectralWound #TheLovecraftSextet

As I Lay Dying announce U.S. Summer 2024 Tour w/ Chelsea Grin & Entheos:

#AsILayDying #AsILayDyingTour #Summer2024Tour #ChelseaGrin #Entheos

https://metalinsider.net/touring/as-i-lay-dying-announce-u-s-summer-2024-tour-w-chelsea-grin-entheos

Entheos - "Absolute Zero" (Live in Nashville)

https://youtu.be/qDZZtVfuU_8

#music #metal #heavymetal #technicaldeathcore #entheos #metalbladerecords

Entheos - "Absolute Zero" (Live in Nashville)

https://youtu.be/qDZZtVfuU_8

#music #metal #heavymetal #technicaldeathcore #entheos #metalbladerecords

Entheos - "Absolute Zero" (Live in Nashville)

https://youtu.be/qDZZtVfuU_8

#music #metal #heavymetal #technicaldeathcore #entheos #metalbladerecords

Entheos - "Absolute Zero" (Live in Nashville)

https://youtu.be/qDZZtVfuU_8

#music #metal #heavymetal #technicaldeathcore #entheos #metalbladerecords

Entheos - "Absolute Zero" (Live in Nashville)

https://youtu.be/qDZZtVfuU_8

#music #metal #heavymetal #technicaldeathcore #entheos #metalbladerecords

#TheMetalDogArticleList
#MetalSucks
Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist
Our Death Metal playlist has also been updated! The post Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/04/metallica-entheos-and-powerwolf-added-to-the-metalsucks-playlist/

#Metallica #EnTheos #Powerwolf #MetalSucks #Music #PowerfulCombination #NewReleases #SomethingForEveryone #HeavyMetal #HeadbangersDelight #SpotifyPlaylist

#TheMetalDogArticleList
#MetalSucks
Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist
Our Death Metal playlist has also been updated! The post Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/04/metallica-entheos-and-powerwolf-added-to-the-metalsucks-playlist/

#Metallica #EnTheos #Powerwolf #MetalSucks #Music #PowerfulCombination #NewReleases #SomethingForEveryone #HeavyMetal #HeadbangersDelight #SpotifyPlaylist

#TheMetalDogArticleList
#MetalSucks
Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist
Our Death Metal playlist has also been updated! The post Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/04/metallica-entheos-and-powerwolf-added-to-the-metalsucks-playlist/

#Metallica #EnTheos #Powerwolf #MetalSucks #Music #PowerfulCombination #NewReleases #SomethingForEveryone #HeavyMetal #HeadbangersDelight #SpotifyPlaylist

#TheMetalDogArticleList
#MetalSucks
Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist
Our Death Metal playlist has also been updated! The post Metallica, Entheos, and Powerwolf Added to The MetalSucks Playlist appeared first on MetalSucks.

https://www.metalsucks.net/2023/03/04/metallica-entheos-and-powerwolf-added-to-the-metalsucks-playlist/

#Metallica #EnTheos #Powerwolf #MetalSucks #Music #PowerfulCombination #NewReleases #SomethingForEveryone #HeavyMetal #HeadbangersDelight #SpotifyPlaylist

La version 'live' en studio

Entheos
In Purgatory (One-Take Play Through)

https://www.youtube.com/watch?v=H5m31He6B7o

#np #PouetRadio #fediradio #mastoradio #metal #InPurgatory
#Entheos #ChaneyCrabb