#folkmetal — Public Fediverse posts

Today's music:

Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

Today's music:

Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

Today's music:

Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

Today's music:

Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

Today's music:

Kallomäki - Suruton Saattaja

https://youtu.be/kN2NGhvnDTE

#metal #FolkMetal #DarkFolk #finland #music #np #NowPlaying #MastoMusic

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

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

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

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

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

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

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📻 Vortex Abyss 🕳️ (Dark ambient, neofolk, shoegaze, immersive)
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#VortexWave #Faun #FolkMetal #Neofolk #2000s

Wake up!! its weekend ... wacken make some noise! 🤘🏽

🎵 Eluveitie - Deathwalker - Live at Wacken Open Air 2019 🎵

:youtube: https://www.youtube.com/watch?v=i7WJdkdkwso

#music #livemusic #wacken #metal #eluveitie #FolkMetal #CelticMetal #MelodicDeathMetal #CelticFolk #CelticMusic #DeathMetal #PaganMetal #Metal #FolkMusic #EuropeanMetal #MetalMusic #Celtic #Gaulish #FolkDeathMetal

Alle Infos zur vierten Ausgabe des Folkfield Festival

Von der Folk Rock-Band Schandmaul 2022 ins Leben gerufen, bietet das Folkfield Festival auch dieses Jahr wieder ein…
#Gelsenkirchen #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #AlleInfos #Anfahrt #FolkMetal #FolkfieldFestival #Germany #Mittelalter #Nordrhein-Westfalen #Rock #RunningOrder #Schandmaul #Wetter
https://www.europesays.com/de/1293247/

Four-and-a-half years after releasing debut T.S.N.R.I. – Impermanenza, Italian atmospheric folk/black outfit Duir returns with sophomore full-length Catarsi. Drawing similarities to Saor, Autrest, and Mossgiver, Duir plays a blend of black and folk metal rooted in evocative instrumentation—specifically the Irish flute, hurdy-gurdy, and bagpipes. Italian for ‘Catharsis,’ Catarsi tells the story of a World War I soldier caught at a crossroads of emotional turmoil and relays the narrative through six tracks totaling forty-seven minutes. Without a lyrics sheet or story details, I can’t comment on the tale itself, yet I admit it establishes a poignant backdrop for atmospheric metal. It’s evident that Duir possesses the skills and imagination to pull it off, but does Catarsi succeed in doing so.

What I enjoy best about Catarsi is Duir’s ability to construct rich layers of music overflowing with vivid textures. Their soundstage feels inhabited and natural, with folk instruments complementing the traditional juncture of guitars and drums. The resulting fusion entices with an understated beauty I heavily associate with folk-informed metal, allowing Duir to forge a path parallel to black metal while developing distinct aural tones besides. Compared to Impermanenza, Catarsi experiments with fewer components, focusing on a narrower scope of sounds and tempos. This allows Duir to fully explore their chosen milieu for the story they’re telling, though it also limits the paths Catarsi can take.

While the instrumentation skews Gaelic and Duir hails from Italy, Catarsi predominantly sounds regionally agnostic,1 imparting an ambiguous rustic charm to the music. Catarsi swells with sumptuous folds as TZ supplies Irish flute and hurdy-gurdy, instilling wonderfully welcome supplements to the tremolos and mournful keening (“Della notte”) of guitarists MK and Skryer. Ever propelling the action forward, drummer P wields a deft touch as he unleashes fierce rolls (“Di nessuno”) and restrained timekeeping (“Manifesto”) in equal measure. Vocalist Vox in Umbra delivers a vicious performance as well, scouring eardrums with his heart-rending rasps (“Manifesto,” “Oltre l’alba”). And though I’m a sucker for punchy bass performances, Duir neither has nor needs any on Catarsi.2 In all, the folk instruments supply ample counterpoints that engender the variety and depth that well-written bass lines typically apply to augment guitars and drums, begetting a well-balanced sonic spread on Catarsi.

I can’t deny that Duir’s performances here are genuinely stunning, yet as a whole, it leaves little impression once concluded. Most of this I attribute to the pervasive homogeneity across the album. Songs are winsome from moment to moment, but leave me with few anchor points to differentiate them. The guitars mostly trem-pick in steady rhythms or drop into passive, melancholic refrains, limiting Duir to only a couple modes of play. And although the flute and hurdy-gurdy bring an extra dimension to proceedings, making them more of a melodic centerpiece would have gone further than utilizing them as accents and flourishes. To be fair, I suspect I’m missing a key component by knowing there’s a story to Catarsi while being ignorant of the details, yet I wish Duir employed more obvious contrasts between the tracks. T.S.N.R.I. – Impermanenza better separated themes and motifs, and while Catarsi’s compositions are more mature, stronger song identities could have reduced the perception of uniformity. Still, Duir prevails on other fronts. The DR score of 8 strongly supports the complexity of their arrangements, and L.G.’s3 guest vocals on “Impeto” yield a clever change-of-pace midway through the album.

Though some flaws hold Catarsi back, Duir can clearly craft absorbing metal. It’s impossible to deny the allure of their music, and any song in isolation sells the vision of Duir’s niche in black metal. All told, though, I struggle to discern the nuances within Catarsi’s design, and without mile markers to segregate passages, its songs can easily slip into the background rather than demanding attention. Even so, Catarsi offers plenty of redeeming moments, and I expect other fans of this style may find more to love than I did.

Rating: Mixed
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

Like a sailor’s call to the sea, I am routinely compelled to the sub-genre of symphonic metal in all of its be-corset-ed miscellany. Why? Maybe I need a break from dudes singing ugly for ladies singing pretty. Maybe falling for Seven Spires justified my continued curiosity in the style.1 Maybe I’ve never been as happy as I was discovering Imaginaerum in high school. Regardless, the call brought me now to the German symphonic group Coronatus and their new record, Dreadful Waters. Led by songwriter/drummer Mats Kurth, Coronatus features three singers in mezzo sopranos Leni Eitrich and Sabine Prechtel, and “rock vocals” by Nemesis, who also contributes to songwriting along with guitarist Harry Zeidler. Rounded out with bassist Simon Gutbrod and violinist Tine Jülich, Coronatus wrote Dreadful Waters with a focus on “merging mysticism, danger and the elemental force of water.” All good words, but does Dreadful Waters bring the strings to live up to them and, more importantly, can Coronatus meet my fix for symphonic metal?

Whatever Coronatus is doing, Dreadful Waters sounds nice doing it. Oscillating between varying degrees of symphonic (“The Siren” and “Die Hexe und der Teufel”) and nautically inclined folk metals (“Southern Cross” and “A Seaman’s Yarn”), Dreadful Waters’ production and mix bring out the best in Coronatus’ instrumentation and give everything a rich openness. Guitars sound chunky and bold while taking on an auxiliary role to the violin and vocals, which are always warm and upfront. Coronatus’ mezzo sopranos bring your typical Tarja-era Nightwish operatics to “The Maelstrom” and “To the Reef!” while Nemesis’ “rock voice” means she brings a Jørn-like grizzled theatricality to her performances on “Dark Ice” and “The Ship’s Cook.” But what really stands out to me is Kurth’s drumming, which is more nuanced than the average symphonic drumming performance. The kick patterns on “Through the Brightest Blue”‘s chorus sound more like a Lamb of God drum track than Nightwish, and “To the Reef!” boasts a palpable jauntiness thanks to the percussion groove. Dreadful Waters is composed of many different pieces, so it’s nice that Coronatus got them all to sound good together.

But symphonic metal lives and dies on its vocalists, and while Coronatus’ singers are skilled musicians, their performances can feel awkward. Each vocalist often brings an almost comical level of warble to their voices, swinging tracks like “Southern Cross” and “A Seaman’s Yarn” towards the ridiculous. Nemesis in particular can overdo it, as her heavy, gravelly vibrato can at times chew the scenery. The mezzo soprano and “rock voice” stylings also sometimes stand at odds with each other, as on songs like “The Siren” and “Dark Ice,” they blend poorly and give off the impression that they weren’t in the studio at the same time. When Coroantus coalesce, like on the album highlight “The Ship’s Cook,” the result is a riveting blend of sophistication and grit that I could listen to all day, but moments like this are unfortunately rare on Dreadful Waters.

The slight vocal issues I see on Dreadful Waters may be a symptom of a larger issue on the album: the lukewarm songcraft. Coronatus’ songs mostly stick to either a slowburn or mid-paced stomp, featuring pretty folk melodies and pleasant orchestrations but little in the way of gripping hooks or powerful performances. Further, vocal melodies are usually played overly straight, throwing few unexpected turns or interesting intervals in favor of a fairly standard symphonic metal play sheet. This makes the more metal-friendly tracks like “The Maelstrom” and “The Siren” come off a bit tepid and, at Dreadful Waters’ worst, its ballads in “Southern Cross” and “Die Hexe und der Teufel” real slogs to get through. Only “The Ship’s Cook” excited me, and that’s because its power metal-adjacent vocal heroics and bouncy chorus melody embody what is woefully missing on much of Dreadful Waters: character.

Dreadful Waters neither sinks nor swims. Far from awful, this record’s shortcomings stem from not doing enough to stand out from the symphonic crowd or playing exceptionally well into its tropes. Less fairweather fans of symphonic metal than I may get more out of Coronatus’ style, but detractors of the style won’t be swayed from their haterdom by it either. Coronatus snagged a real winner with “The Ship’s Cook,” though, so I don’t foresee terrible sailing for the band in their future. But for meeting the need for big strings over my metal, Dreadful Waters doesn’t do it for me.



Rating: Disappointing
DR: 9 | Format Reviewed: 192 kbps MP3
Label: Massacre Records
Websites: facebook.com/coronatusofficial | coronatus.de
Releases Worldwide: January 23rd, 2026

Equilibrium – Equinox Review

By Samguineous Maximus

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests?

Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights.

According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided.

There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations.

Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Nuclear Blast Records
Websites: equilibrium-metal.net | facebook.com/equilibrium
Releases Worldwide: November 28th, 2025

#20 #2025 #avatar #electronicMetal #ensiferum #equilibrium #equinox #finntroll #folkMetal #germanM #melodicDeathMetal #metalcore #nov25 #nuclearBlast #orchestralMetal #review #reviews #rhapsodyOfFire

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer

Kalaveraztekah // Nikan Axkan [May 2nd, 2025]

AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.

Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0

Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0

Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0

Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0

Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah‘s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0

Show 6 footnotes

1. Tzompantli doesn’t count ’cause they’re from California and they’re only “good.” ↩
2. I believe we call them Aguascalentenses. – Dolph ↩
3. Interesting to note that the band is from Aguascalientes, because the region was, in fact, the home of the Chichimeca groups, which, according to my deep research (yup, doin’ my own research just like RFK Jr. told me to!) became a kind of archetype of “noble savages” for both the Spaniards and the Mexica (Aztecs) in the 1500s. Rather than being a single group with a shared language, the Chichimeca groups were spread throughout central Mexico, and following the discovery of silver, they were war-crimed into a decades-long conflict and eventual decline, and by the beginning of the 1600s, they “disappeared as distinguishable cultural entities” (Schmal, 2019). Seven tribes would be the basis of a mighty seven-album conceptual cycle, my dudes. I’m just sayin’. ↩
4. Is that ironic? ↩
5. It really makes you wonder how far is heaven. – Dolph ↩
6. Surely, scooped tone production existed before The Zenith Passage. – Dolph ↩

#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory

Μπαλάντα "συναυλιακού τύπου" για αναμμένους αναπτήρες (όχι κινητά ΓΤΣΣ 😈 ) και τραγούδι από το κοινό, με δυνατό ξέσπασμα στη λήξη.

Σπάει την άβυσσο φωτιά στον ουρανό
που την κεντάνε νύχτα οι Πλειάδες,
η Μοίρα θα χορεύει με το Θάνατο
όταν θα κλείνουνε οι Συμπληγάδες.

Εκεί που πάμε θα ‘μαστε οι ζωντανοί,
σαν αστραπή στη νυχτωδία
που θα φωτίσει όσους έπεσαν νεκροί,
αυτούς που έπνιξε η αγωνία.


#KHIRKI #ERisNowPlaying #music #folkmetal #metal #παίζειτώρα #βαράτε_βιολιτζήδες #μουσική

https://khirkirocks.bandcamp.com/track/-