#germanmetal — Public Fediverse posts

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

Kultur, meine Damen und Herren!
#BeyondTheBlack #Löwensaal #Nürnberg #Metal #germanmetal

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: 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

Primal Fear – Domination Review

By Steel Druhm

Ever since Ralph Scheepers left Gamma Ray for greener pastures and an ill-fated tryout for the vacant vocal spot in Judas Priest, he’s thrown his all into Primal Fear, and so, every two years or so, like clockwork, we get a new gleaming chrome platter from them. At first, it felt like he was doing Painkiller-esque album after album to show Priest what a huge fuck up they made by choosing Ripper over him.1 Over time, though, the Primal Fear sound morphed into a more power metal-centric style with Judas Priest no longer the primary influence. They’ve more or less occupied the same space as bands like Brainstorm and Mystic Prophecy for the last decade, and every release is a familiar buffet of macho riffs and Scheepers’ high-flying Halfordisms. 15th album Domination sees long-time guitarists Tom Naumann and Alexander Beyrodt depart, and Angus McSix axe-mistress Thalìa Bellazecca stepping in to replace them. Well-traveled drummer André Hilgers also comes aboard, replacing Michael Ehré. Will all this new blood shake up the Primal Fear sound and give us something different and unusual? Yes and no.

Domination kicks off in typical Primal Fear style with the anthemic and fist-pumping “The Hunter.” It’s a great example of their “Judas Priest doing power metal” sound, and it hits the chorus and makes you remember it after one spin. It’s what you expect at this point from Primal Fear, and it’s easy to enjoy. They follow that up with a run of equally catchy nuggets from “Destroyer” on through lead single “Tears of Fire.” All featuring their tried-and-true blueprint of meaty riffs and commanding vocals with a big(ish) chorus to screw your memory to the sticking point. Five songs in, you’re experiencing a very solid album that checks all the primal cuts.

Unfortunately, things start to get wobbly after that, with hits and misses appearing in random order. “Heroes and Gods” is decent and has some intensity, but the chorus falls flat and grows annoying. “Eden” is a 7-minute epic power ballad that’s okay but not epic or interesting enough to justify its length despite some decent guest vocals from Melissa Løwe Bonny (Ad Infinitum). Both “Scream” and “The Dead Don’t Die” feel generic and underwhelming, and this makes for a very soft and doughy middle for Domination. Late album track “Crossfire” brings things back around with a muscular, testosterone-heavy trip that plays to the band’s strength, but things then immediately crash again on the weird and awkward “March Boy March.” This one kicks off with weird EMD/club music before eventually launching into a speedy assault, but it feels flat and forced. I do give the band props for the odd closing ballad “A Tune I Won’t Forget” that starts out like a Leonard Cohen tune with Ralph adopting a smoky, world-weary baritone before exploding into his usual power and fury. It doesn’t amount to much, but it’s an interesting new shade nonetheless. At just over an hour, Domination is definitely too long, and since it has several lesser inclusions, it should have been pared down for a tighter, meaner release.

As ever, Ralph Scheepers is in fine form. He relies less and less on his upper-register screams and shrieks as the albums pile up, but he’s still the working man’s Rob Halford, and he knows how to push a metal anthem over the top. I’ve been a fan since his Gamma Ray days, and he always hits the mark. Long-time guitarist/songwriter Magnus Karlsson and new addition Thalìa Bellazecca do a respectable job providing the riff backdrop for Ralph, and on about half the tracks, they work some degree of magic. On the lesser tracks, things bog down into simplistic 80s-centric riffing and leads that just kind of disappear into the background. They do, however, come together for a rousing shred-fest on instrumental “Halluctions,” which is an interesting and moody addition.

Primal Fear has had a long run of good to very good albums, and Domination is the first miss in my book since 2009s 16.6 outing. Even when they miss, you still get over half an album’s worth of entertaining and replayable gym fodder. I suspect they will right the ship and come back in two years with something more memorable, and until that day, this will have to tide the faithful over. Hold fast for the Fear!

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Reigning Phoenix
Websites: primalfear.de | facebook.com/primalfearofficial | instagram.com/primalfearofficial
Releases Worldwide: September 5th, 2025

#2025 #AngusMcSix #Domination #GermanMetal #HeavyMetal #JudasPriest #MysticProphecy #PowerMetal #PrimalFear #ReigningPhoenixMusic #Review #Reviews #Sep25

No Shelter. – Remission/Resolve Review

By Angry Metal Guy

Written By Nameless_n00b_605

These days, it seems everywhere I turn, I can’t help but run into a great band from Germany. I don’t know what’s in the water over there, but with groups like Kanonenfieber, Unhallowed Deliverance, and classic acts like Sodom releasing great records, it’s no surprise that yet another talented group hails from Deutschland. No Shelter. is a five-piece from Münster that peddles in D-beat brutalization with a heaping helping of Boss HM-2 pedal worship. Its latest, Remission/Resolve, is a bass-driven freight train of Swedish-coded blackened death metal, crust punk, and hardcore, conjuring direct comparisons to genre stalwarts like Nails, Rotten Sound, and Trap Them. Can No Shelter. stand in the spotlight with some of the most vicious rippers around, or is it flying too close to the sun, wax wings ready to send it to hell with the rest of the copycats?

No Shelter. is relatively new to the scene (forming in 2017), but it sounds like a veteran unit. Every element of the band feels honed for their specific brand of violence. Thick, earth-shaking bass drives the album, while HM-2-infused riffage switches between blackened death blasts and Pantera-esque grooves. Bolstered by intricate drum fills and classic hardcore 2-step energy, the vocals are equally caustic, calling to mind a truly evil combo of Ringworm’s James Bulloch and Nails’ Todd Jones. No Shelter. plays with no holds barred throughout the entire album, and each band member takes to their role with a reckless abandon more than fitting for their genre inspirations.

The brutally sludgy bass is the adrenaline-juiced heart that keeps Remission/Resolve pumping. Where bands like Job for a Cowboy and Horrendous use bass to shore up their technicality and the spaciness of their sound, No Shelter. uses it as a sledgehammer. Bass is integral to metal, making riffs deeper, heavier, and more impactful overall, and No Shelter. just gets it. Every riff is complemented by slapping destruction, and the bass gets to fly free or drive breakdowns such as on tracks “Rotten,” “Doomed,” and “Ultimate Disgust”. No Shelter. suplexes the trend of bass-less metal right into the dumpster with And Justice for All.

Another element where No Shelter. pulls its sound from the Swedish death metal sewer is the production. The band wears its Entombed inspiration on its sleeve proudly (if the “Wolverine Blues” cover didn’t already give it away), and the HM-2 pedal is all over Remission/Resolve. Production was something No Shelter. wanted to nail, and Remission/Resolve is borderline perfect in this area. The bass is suitably nasty without sounding like a punchline (sorry Primus, I still love you), the snare drum hits hard without becoming tinny, and the vocals are discernible while still retaining the rawness and emotionality required for D-beat destruction. To cap it all off, the guitar brings cohesion to Remission/Resolve with that classic chainsaw tone that would make bands like Hath, Dismember, and Dormant Ordeal proud.

Remission/Resolve isn’t perfect, although where it stumbles isn’t in songwriting or musicianship. This LP lasts a blistering 32 minutes, but the collection of twelve tracks starts with an intro, features two interludes, and a cover as the final track. While I appreciate the interludes as breaks from the aural onslaught on Remission/Resolve, they vary in quality. The unoriginally titled “Intro” (at least it knows what it is) is suitably sinister and builds up anticipation, but the two interludes are almost too simple musically and seem to only exist to let the listener breathe. An admirable idea, and one that is necessary for a lot of albums in this genre, but these moments would be better served attached to the end of already existing tracks. On top of that, I wish they would loop back in on the musical themes established across the album and in the intro, as it stands, the two interludes “I” and “II” feel like they come from a different album.

No Shelter. ends up with a very good record that stands nearly toe-to-toe with its genre inspirations and rightfully lives up to the bands it references so heavily. Therefore, it is fitting that Remission/Resolve closes things with a rip-roaring cover of Entombed’s “Wolverine Blues,” a song that slides so well into the band’s sound, it took me a minute to realize it was a cover in the first place. “Wolverine Blues” ends up feeling perfectly placed right alongside the best tracks on the album and works as a self-referential closer to an album chock-full of Swedish buzzsaw worship. No Shelter. doesn’t so much rock the boat with its brand of blackened hardcore as it does slap a fuckin’ motor on it and violently rocket across the lake.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: This Charming Man Records
Websites: noshelter.bandcamp.com | facebook.com/NoShelterBand
Releases Worldwide: July 25th, 2025

#2025 #35 #BlackenedDeathMetal #Crust #DBeat #Dismember #DormantOrdeal #Entombed #GermanMetal #Hardcore #Hath #Jul25 #Kanonenfieber #Nails #NoShelter_ #Primus #RemissionResolve #Review #Reviews #RottenSound #Sodom #SwedishDeathMetal #TrapThem #UnhallowedDeliverance

No Shelter. – Remission/Resolve Review

By Angry Metal Guy

Written By Nameless_n00b_605

These days, it seems everywhere I turn, I can’t help but run into a great band from Germany. I don’t know what’s in the water over there, but with groups like Kanonenfieber, Unhallowed Deliverance, and classic acts like Sodom releasing great records, it’s no surprise that yet another talented group hails from Deutschland. No Shelter. is a five-piece from Münster that peddles in D-beat brutalization with a heaping helping of Boss HM-2 pedal worship. Its latest, Remission/Resolve, is a bass-driven freight train of Swedish-coded blackened death metal, crust punk, and hardcore, conjuring direct comparisons to genre stalwarts like Nails, Rotten Sound, and Trap Them. Can No Shelter. stand in the spotlight with some of the most vicious rippers around, or is it flying too close to the sun, wax wings ready to send it to hell with the rest of the copycats?

No Shelter. is relatively new to the scene (forming in 2017), but it sounds like a veteran unit. Every element of the band feels honed for their specific brand of violence. Thick, earth-shaking bass drives the album, while HM-2-infused riffage switches between blackened death blasts and Pantera-esque grooves. Bolstered by intricate drum fills and classic hardcore 2-step energy, the vocals are equally caustic, calling to mind a truly evil combo of Ringworm’s James Bulloch and Nails’ Todd Jones. No Shelter. plays with no holds barred throughout the entire album, and each band member takes to their role with a reckless abandon more than fitting for their genre inspirations.

The brutally sludgy bass is the adrenaline-juiced heart that keeps Remission/Resolve pumping. Where bands like Job for a Cowboy and Horrendous use bass to shore up their technicality and the spaciness of their sound, No Shelter. uses it as a sledgehammer. Bass is integral to metal, making riffs deeper, heavier, and more impactful overall, and No Shelter. just gets it. Every riff is complemented by slapping destruction, and the bass gets to fly free or drive breakdowns such as on tracks “Rotten,” “Doomed,” and “Ultimate Disgust”. No Shelter. suplexes the trend of bass-less metal right into the dumpster with And Justice for All.

Another element where No Shelter. pulls its sound from the Swedish death metal sewer is the production. The band wears its Entombed inspiration on its sleeve proudly (if the “Wolverine Blues” cover didn’t already give it away), and the HM-2 pedal is all over Remission/Resolve. Production was something No Shelter. wanted to nail, and Remission/Resolve is borderline perfect in this area. The bass is suitably nasty without sounding like a punchline (sorry Primus, I still love you), the snare drum hits hard without becoming tinny, and the vocals are discernible while still retaining the rawness and emotionality required for D-beat destruction. To cap it all off, the guitar brings cohesion to Remission/Resolve with that classic chainsaw tone that would make bands like Hath, Dismember, and Dormant Ordeal proud.

Remission/Resolve isn’t perfect, although where it stumbles isn’t in songwriting or musicianship. This LP lasts a blistering 32 minutes, but the collection of twelve tracks starts with an intro, features two interludes, and a cover as the final track. While I appreciate the interludes as breaks from the aural onslaught on Remission/Resolve, they vary in quality. The unoriginally titled “Intro” (at least it knows what it is) is suitably sinister and builds up anticipation, but the two interludes are almost too simple musically and seem to only exist to let the listener breathe. An admirable idea, and one that is necessary for a lot of albums in this genre, but these moments would be better served attached to the end of already existing tracks. On top of that, I wish they would loop back in on the musical themes established across the album and in the intro, as it stands, the two interludes “I” and “II” feel like they come from a different album.

No Shelter. ends up with a very good record that stands nearly toe-to-toe with its genre inspirations and rightfully lives up to the bands it references so heavily. Therefore, it is fitting that Remission/Resolve closes things with a rip-roaring cover of Entombed’s “Wolverine Blues,” a song that slides so well into the band’s sound, it took me a minute to realize it was a cover in the first place. “Wolverine Blues” ends up feeling perfectly placed right alongside the best tracks on the album and works as a self-referential closer to an album chock-full of Swedish buzzsaw worship. No Shelter. doesn’t so much rock the boat with its brand of blackened hardcore as it does slap a fuckin’ motor on it and violently rocket across the lake.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: This Charming Man Records
Websites: noshelter.bandcamp.com | facebook.com/NoShelterBand
Releases Worldwide: July 25th, 2025

#2025 #35 #BlackenedDeathMetal #Crust #DBeat #Dismember #DormantOrdeal #Entombed #GermanMetal #Hardcore #Hath #Jul25 #Kanonenfieber #Nails #NoShelter_ #Primus #RemissionResolve #Review #Reviews #RottenSound #Sodom #SwedishDeathMetal #TrapThem #UnhallowedDeliverance

https://www.europesays.com/uk/348511/ Sad Serenity – Tiny Miracles Review #2025 #3.0 #DreamTheater #Entertainment #GermanMetal #Jul25 #music #ProgMetal #ProgressiveMetal #Review #Reviews #SadSerenity #TheMarsVolta #TinyMiracles #Tool #UK #UnitedKingdom

Sad Serenity – Tiny Miracles Review

Written By: Nameless_n00b_606 Perhaps more than any other subgenre of metal, prog requires work. Prog metal’s penchant for…
#NewsBeep #News #Music #2025 #3.0 #DreamTheater #Entertainment #GermanMetal #Jul25 #ProgMetal #ProgressiveMetal #review #Reviews #SadSerenity #TheMarsVolta #TinyMiracles #tool #UK #UnitedKingdom
https://www.newsbeep.com/uk/70451/

Sad Serenity – Tiny Miracles Review

By Angry Metal Guy

Written By: Nameless_n00b_606

Perhaps more than any other subgenre of metal, prog requires work. Prog metal’s penchant for long, complex compositions can make an entire album feel like a chore, but the genre also dazzles with displays of virtuosic musicianship that prompt repeat listens. For prog metal collective Sad Serenity, German multi-instrumentalist Marcell Kaemmerer handles all the composing (music, lyrics, arrangements) and is responsible for much of the virtuosity, playing guitars, keyboards, and bass. Like their 2023 debut, The Grand Enigma, Tiny Miracles is a 70-plus-minute opus, comprised of what Sad Serenity describes as “6 mostly overlong songs of up to 23 minutes.”1 Sounding more like a warning than an invitation, this description makes prospective listeners wonder if Tiny Miracles will provoke—and reward—sustained attention.

Abounding with virtuosic performances, Tiny Miracles sounds like Dream Theater, especially their early 2000s output (Six Degrees of Inner Turbulence, Train of Thought). In his roles as Petrucci, Rudess, and Myung, Kaemmerer shines, crafting songs with chunky guitar riffs, bass-driven verses, and textural keyboards (“Tell the Moon”). Filling out the core of Sad Serenity is Greek vocalist George Margaritopolous, who reminds more of Cedric Bixler-Zavala (The Mars Volta) than he does Jame LaBrie when he belts the high notes. And though it would be hard to out-drum Mike Portnoy, Brazilian drummer Vinny Silva more than holds his own, effortlessly moving between machine gun double bass, double-time beats, and tight rim work (“Torn”). As a collective, Sad Serenity also benefits from contributions by musicians across the world, including Australia (violin), Croatia (transverse flute), and Kaemmerer’s native Germany (accordion). Björn von Känel balances all these elements in a deceptively airy mix. In its instrumental plentitude, technical prowess, and pristine production, Tiny Miracles sounds like a heavy metal symphony.

Sad Serenity says that Tiny Miracles revolves around “the small, miraculous and too often overlooked aspects of life,” yet all but one track takes inspiration from the grandiose domain of literature. “Alter Ego,” an adaptation of Stevenson’s Strange Case of Dr Jekyll and Mr Hyde, is the album’s shortest song and a banger, turning the dissonance-draped opening riff into a Tool-esque verse, sweet shredding, and some concluding prog nuttiness. “Torn,” the one song with no literary reference, is another (relatively) shorter track that slaps, twisting chunky rhythms and nifty riffs around an infectious chorus. Meanwhile, “A Cabin in the Woods”—the second longest track—sets a disjointed tone as the album opener; the placid verses and woodwinds evoke the naturalism of its source material (Thoreau’s Walden), but the pulsing synths and syncopated chugs aren’t exactly rustic. And then there’s “The Elemental Dance,” the obligatory multi-part prog suite. Sad Serenity’s version comes in five movements and is based on Goethe’s “Der Zauberlehrling” (“The Sorcerer’s Apprentice”). It has impressive moments, but some movements resonate more than others; one must ask why Sad Serenity didn’t separate this 23-minute Gargantua into five digestible tracks for the digital album. Given the band’s statement that Tiny Miracles spotlights overlooked minutiae, it’s fitting that the ‘smaller’ songs demand the most attention.

There’s no overlooking the powerful pipes of George Margaritopolous. Tiny Miracles contains songs with traditional structures that allow Margaritopolous to drop some supremely catchy hooks. There’s the aforementioned “Torn,” and then there’s “Tiny Miracles,” which slowly amplifies its anthemic chorus before adding urgency to its final iteration. But for the most part, Margaritopolous sings recitativo-style narratives from Kaemmerer’s literature-inspired libretto.2 In both “A Cabin in the Woods” and “Alter Ego,” shifts from third- to first-person perspective don’t clearly map onto compositional shifts. This may seem like a minor discrepancy, but it illustrates the dangers of favoring virtuosic yet functional vocals over vocal hooks—it puts pressure on the lyrics to carry more weight.

Having put in work to understand Tiny Miracles and its enormous compositions, I will say that Sad Serenity has a flawed but ultimately enjoyable sophomore album on its hands. The ‘shorter’ songs stand out the most, blending traditional structures with the jaw-dropping excursions that prog metal fans crave (“Torn,” “Alter Ego”). Conversely, the longer songs, in their grander narrative scale, contain fewer vocal hooks and sometimes meander (“A Cabin in the Woods,” “Tell the Moon”). Afficionados of the genre will garner appreciation from subtleties heretofore unmentioned: melodic modulations, mixed-mode chord progressions, etc. But to the metal fan in general, consider this a cautious invitation; Tiny Miracles is indeed overlong, but it does reward repeat listens.

Rating: Good!
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Self-Release
Websites: sadserenity.bandcamp.com | patreon.com/sadserenityofficial
Releases Worldwide: July 25th, 2025

#2025 #30 #DreamTheater #GermanMetal #Jul25 #ProgMetal #ProgressiveMetal #Review #Reviews #SadSerenity #TheMarsVolta #TinyMiracles #Tool

Sad Serenity – Tiny Miracles Review

By Angry Metal Guy

Written By: Nameless_n00b_606

Perhaps more than any other subgenre of metal, prog requires work. Prog metal’s penchant for long, complex compositions can make an entire album feel like a chore, but the genre also dazzles with displays of virtuosic musicianship that prompt repeat listens. For prog metal collective Sad Serenity, German multi-instrumentalist Marcell Kaemmerer handles all the composing (music, lyrics, arrangements) and is responsible for much of the virtuosity, playing guitars, keyboards, and bass. Like their 2023 debut, The Grand Enigma, Tiny Miracles is a 70-plus-minute opus, comprised of what Sad Serenity describes as “6 mostly overlong songs of up to 23 minutes.”1 Sounding more like a warning than an invitation, this description makes prospective listeners wonder if Tiny Miracles will provoke—and reward—sustained attention.

Abounding with virtuosic performances, Tiny Miracles sounds like Dream Theater, especially their early 2000s output (Six Degrees of Inner Turbulence, Train of Thought). In his roles as Petrucci, Rudess, and Myung, Kaemmerer shines, crafting songs with chunky guitar riffs, bass-driven verses, and textural keyboards (“Tell the Moon”). Filling out the core of Sad Serenity is Greek vocalist George Margaritopolous, who reminds more of Cedric Bixler-Zavala (The Mars Volta) than he does Jame LaBrie when he belts the high notes. And though it would be hard to out-drum Mike Portnoy, Brazilian drummer Vinny Silva more than holds his own, effortlessly moving between machine gun double bass, double-time beats, and tight rim work (“Torn”). As a collective, Sad Serenity also benefits from contributions by musicians across the world, including Australia (violin), Croatia (transverse flute), and Kaemmerer’s native Germany (accordion). Björn von Känel balances all these elements in a deceptively airy mix. In its instrumental plentitude, technical prowess, and pristine production, Tiny Miracles sounds like a heavy metal symphony.

Sad Serenity says that Tiny Miracles revolves around “the small, miraculous and too often overlooked aspects of life,” yet all but one track takes inspiration from the grandiose domain of literature. “Alter Ego,” an adaptation of Stevenson’s Strange Case of Dr Jekyll and Mr Hyde, is the album’s shortest song and a banger, turning the dissonance-draped opening riff into a Tool-esque verse, sweet shredding, and some concluding prog nuttiness. “Torn,” the one song with no literary reference, is another (relatively) shorter track that slaps, twisting chunky rhythms and nifty riffs around an infectious chorus. Meanwhile, “A Cabin in the Woods”—the second longest track—sets a disjointed tone as the album opener; the placid verses and woodwinds evoke the naturalism of its source material (Thoreau’s Walden), but the pulsing synths and syncopated chugs aren’t exactly rustic. And then there’s “The Elemental Dance,” the obligatory multi-part prog suite. Sad Serenity’s version comes in five movements and is based on Goethe’s “Der Zauberlehrling” (“The Sorcerer’s Apprentice”). It has impressive moments, but some movements resonate more than others; one must ask why Sad Serenity didn’t separate this 23-minute Gargantua into five digestible tracks for the digital album. Given the band’s statement that Tiny Miracles spotlights overlooked minutiae, it’s fitting that the ‘smaller’ songs demand the most attention.

There’s no overlooking the powerful pipes of George Margaritopolous. Tiny Miracles contains songs with traditional structures that allow Margaritopolous to drop some supremely catchy hooks. There’s the aforementioned “Torn,” and then there’s “Tiny Miracles,” which slowly amplifies its anthemic chorus before adding urgency to its final iteration. But for the most part, Margaritopolous sings recitativo-style narratives from Kaemmerer’s literature-inspired libretto.2 In both “A Cabin in the Woods” and “Alter Ego,” shifts from third- to first-person perspective don’t clearly map onto compositional shifts. This may seem like a minor discrepancy, but it illustrates the dangers of favoring virtuosic yet functional vocals over vocal hooks—it puts pressure on the lyrics to carry more weight.

Having put in work to understand Tiny Miracles and its enormous compositions, I will say that Sad Serenity has a flawed but ultimately enjoyable sophomore album on its hands. The ‘shorter’ songs stand out the most, blending traditional structures with the jaw-dropping excursions that prog metal fans crave (“Torn,” “Alter Ego”). Conversely, the longer songs, in their grander narrative scale, contain fewer vocal hooks and sometimes meander (“A Cabin in the Woods,” “Tell the Moon”). Afficionados of the genre will garner appreciation from subtleties heretofore unmentioned: melodic modulations, mixed-mode chord progressions, etc. But to the metal fan in general, consider this a cautious invitation; Tiny Miracles is indeed overlong, but it does reward repeat listens.

Rating: Good!
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Self-Release
Websites: sadserenity.bandcamp.com | patreon.com/sadserenityofficial
Releases Worldwide: July 25th, 2025

#2025 #30 #DreamTheater #GermanMetal #Jul25 #ProgMetal #ProgressiveMetal #Review #Reviews #SadSerenity #TheMarsVolta #TinyMiracles #Tool

Mouth of Madness – Event Horizon Review

By Mystikus Hugebeard

As metalheads, there are many things we collectively appreciate about our musical genre, but one important component I often see lauded is originality. It’s not exactly a deal-breaker, but it can be exhilarating to listen to something treading unexplored territory. Indeed, a common complaint leveled against artists is calling a piece “derivative” or some such. If you count yourself amongst those who take umbrage with being unoriginal, then look no further than German duo Mouth of Madness and their debut album Event Horizon! After all, the pre-release literature simply spoils me for assurances that Event Horizon represents “an inspired band’s curious take on metal that, due to its originality, defies being easily tagged,” amongst other choice phrases. Fair’s fair, Event Horizon’s artwork does titillate the imagination, with a striking image enriched by stark colors. Fine, I’ll bite.

As my teeth sink in, it first becomes clear that Mouth of Madness are first and foremost practitioners of death metal. “Sex and Thanatos” opens up the album proper with some swedeath swagger and Morbid Angel chugging, while the following “Year of the Dog” offers a clearer picture of Event Horizon’s style. The guitars riff with thrashy abandon across a blackened tremolo-driven edge, as the drums consistently maintain a blast-beat pace. The lead guitars are sadly given scant little to do, outside of a few fun wails in “Worms.” Event Horizon’s production job is clean and crisp. It eschews the usual blunt force one might typically get with death metal, and I do rather like the soundscape. It feels minimalist in a way I fondly associate with early black metal without sounding like it was recorded in a garbage can, and allows one’s focus to rest squarely on the songcraft.

And yet, under this sharper focus, Event Horizon falls apart. Despite the aggression and fast pace, the riffs of songs like “Year of the Dog” or “Masaan” lack meaningful heft and rarely coagulate into a satisfying whole. Connecting the riffs in Event Horizon is a sea of bloat in the shape of melodically anemic passages that make Event Horizon’s 36-minute runtime feel much longer than it is. The particularly egregious midsection of “Worms” goes nowhere fast with directionless tremolos blazing away and wasting the song’s decent opening. The first half of “Fireborn” carries a similar aimlessness. If the intent of this guitar-work is to create a labyrinthine, snaking sensation across Event Horizon as a whole, then it needs more melodic intention and inspiration. I do like “At the Heart of the Unknown,” where a spartan intro builds black-metal discordance into a truly satisfying riff, although the song does overstay its welcome by about a minute. The ambient “Transhimalaja+,” which is spread across Event Horizon in three parts, is also strong in a vacuum. It’s well-made ambient music, but it’s a tonal clash with the rest of Event Horizon, as if it were from a different album.

Which is because it is! “Transhimalaja+” is a song by the German group Popul Vuh, or more specifically, a song written by Florian Fricke, a founding member of Popul Vuh.1 Incomprehensibly, Mouth of Madness split Fricke’s six-minute “Transhimalaja+” into three asymmetrical parts and played them in reverse order across the album, entirely unaltered. It baffles me. It doesn’t tie Event Horizon together, since “Transhimalaja+” strikes a mysterious, almost ominous tone that the remainder of Event Horizon barely reflects. It also poorly serves the album’s pacing. “Worms” clumsily transitions into “Transhimalaja+ II” which in turn clumsily transitions into “Fireborn,” and then “Masaan” ends on a flimsy down-note that abruptly jumps to “Transhimalaja+ III.” Mouth of Madness’ implementation of “Transhimalaja+” crucifies Event Horizon on its own promise of originality. I doubt there’s a legal issue—considering that the promo blurb mentioned Popul Vuh, I charitably imagine the label must’ve gotten permission or some equivalent, but the implied legality doesn’t excuse the miserable laziness of it.2

It is a truly joyless endeavor to come down on a band like this, especially one like Mouth of Madness who’ve just released their first LP after over a decade. And yet, I can’t ignore that their inclusion of Florian Fricke’s “Transhimalaja+” is both baffling and insulting, and contributes to a discouraging debut. But I’ve yet to review a band where I don’t yearn for their growth and improvement. While their “curious take on metal” rings hollow, a solid cut like “At the Heart of the Unknown” does demonstrate that Mouth of Madness has potential. As with any artist, I will always want to see that potential realized, and I look forward to the day I can recommend Mouth of Madness to all. But guys, even if it’s as small as an ambient opener or interlude, write ’em yourself, for fucks sake.

Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: Darkness Shall Rise Productions
Websites: facebook | bandcamp
Releases Worldwide: July 16th, 2025

#15 #2025 #BlackMetal #DarknessShallRiseProductions #DeathMetal #EventHorizon #GermanMetal #Jul25 #MorbidAngel #MouthOfMadness #Review #Reviews

Mouth of Madness – Event Horizon Review

By Mystikus Hugebeard

As metalheads, there are many things we collectively appreciate about our musical genre, but one important component I often see lauded is originality. It’s not exactly a deal-breaker, but it can be exhilarating to listen to something treading unexplored territory. Indeed, a common complaint leveled against artists is calling a piece “derivative” or some such. If you count yourself amongst those who take umbrage with being unoriginal, then look no further than German duo Mouth of Madness and their debut album Event Horizon! After all, the pre-release literature simply spoils me for assurances that Event Horizon represents “an inspired band’s curious take on metal that, due to its originality, defies being easily tagged,” amongst other choice phrases. Fair’s fair, Event Horizon’s artwork does titillate the imagination, with a striking image enriched by stark colors. Fine, I’ll bite.

As my teeth sink in, it first becomes clear that Mouth of Madness are first and foremost practitioners of death metal. “Sex and Thanatos” opens up the album proper with some swedeath swagger and Morbid Angel chugging, while the following “Year of the Dog” offers a clearer picture of Event Horizon’s style. The guitars riff with thrashy abandon across a blackened tremolo-driven edge, as the drums consistently maintain a blast-beat pace. The lead guitars are sadly given scant little to do, outside of a few fun wails in “Worms.” Event Horizon’s production job is clean and crisp. It eschews the usual blunt force one might typically get with death metal, and I do rather like the soundscape. It feels minimalist in a way I fondly associate with early black metal without sounding like it was recorded in a garbage can, and allows one’s focus to rest squarely on the songcraft.

And yet, under this sharper focus, Event Horizon falls apart. Despite the aggression and fast pace, the riffs of songs like “Year of the Dog” or “Masaan” lack meaningful heft and rarely coagulate into a satisfying whole. Connecting the riffs in Event Horizon is a sea of bloat in the shape of melodically anemic passages that make Event Horizon’s 36-minute runtime feel much longer than it is. The particularly egregious midsection of “Worms” goes nowhere fast with directionless tremolos blazing away and wasting the song’s decent opening. The first half of “Fireborn” carries a similar aimlessness. If the intent of this guitar-work is to create a labyrinthine, snaking sensation across Event Horizon as a whole, then it needs more melodic intention and inspiration. I do like “At the Heart of the Unknown,” where a spartan intro builds black-metal discordance into a truly satisfying riff, although the song does overstay its welcome by about a minute. The ambient “Transhimalaja+,” which is spread across Event Horizon in three parts, is also strong in a vacuum. It’s well-made ambient music, but it’s a tonal clash with the rest of Event Horizon, as if it were from a different album.

Which is because it is! “Transhimalaja+” is a song by the German group Popul Vuh, or more specifically, a song written by Florian Fricke, a founding member of Popul Vuh.1 Incomprehensibly, Mouth of Madness split Fricke’s six-minute “Transhimalaja+” into three asymmetrical parts and played them in reverse order across the album, entirely unaltered. It baffles me. It doesn’t tie Event Horizon together, since “Transhimalaja+” strikes a mysterious, almost ominous tone that the remainder of Event Horizon barely reflects. It also poorly serves the album’s pacing. “Worms” clumsily transitions into “Transhimalaja+ II” which in turn clumsily transitions into “Fireborn,” and then “Masaan” ends on a flimsy down-note that abruptly jumps to “Transhimalaja+ III.” Mouth of Madness’ implementation of “Transhimalaja+” crucifies Event Horizon on its own promise of originality. I doubt there’s a legal issue—considering that the promo blurb mentioned Popul Vuh, I charitably imagine the label must’ve gotten permission or some equivalent, but the implied legality doesn’t excuse the miserable laziness of it.2

It is a truly joyless endeavor to come down on a band like this, especially one like Mouth of Madness who’ve just released their first LP after over a decade. And yet, I can’t ignore that their inclusion of Florian Fricke’s “Transhimalaja+” is both baffling and insulting, and contributes to a discouraging debut. But I’ve yet to review a band where I don’t yearn for their growth and improvement. While their “curious take on metal” rings hollow, a solid cut like “At the Heart of the Unknown” does demonstrate that Mouth of Madness has potential. As with any artist, I will always want to see that potential realized, and I look forward to the day I can recommend Mouth of Madness to all. But guys, even if it’s as small as an ambient opener or interlude, write ’em yourself, for fucks sake.

Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: Darkness Shall Rise Productions
Websites: facebook | bandcamp
Releases Worldwide: July 16th, 2025

#15 #2025 #BlackMetal #DarknessShallRiseProductions #DeathMetal #EventHorizon #GermanMetal #Jul25 #MorbidAngel #MouthOfMadness #Review #Reviews

Mouth of Madness – Event Horizon Review

By Mystikus Hugebeard

As metalheads, there are many things we collectively appreciate about our musical genre, but one important component I often see lauded is originality. It’s not exactly a deal-breaker, but it can be exhilarating to listen to something treading unexplored territory. Indeed, a common complaint leveled against artists is calling a piece “derivative” or some such. If you count yourself amongst those who take umbrage with being unoriginal, then look no further than German duo Mouth of Madness and their debut album Event Horizon! After all, the pre-release literature simply spoils me for assurances that Event Horizon represents “an inspired band’s curious take on metal that, due to its originality, defies being easily tagged,” amongst other choice phrases. Fair’s fair, Event Horizon’s artwork does titillate the imagination, with a striking image enriched by stark colors. Fine, I’ll bite.

As my teeth sink in, it first becomes clear that Mouth of Madness are first and foremost practitioners of death metal. “Sex and Thanatos” opens up the album proper with some swedeath swagger and Morbid Angel chugging, while the following “Year of the Dog” offers a clearer picture of Event Horizon’s style. The guitars riff with thrashy abandon across a blackened tremolo-driven edge, as the drums consistently maintain a blast-beat pace. The lead guitars are sadly given scant little to do, outside of a few fun wails in “Worms.” Event Horizon’s production job is clean and crisp. It eschews the usual blunt force one might typically get with death metal, and I do rather like the soundscape. It feels minimalist in a way I fondly associate with early black metal without sounding like it was recorded in a garbage can, and allows one’s focus to rest squarely on the songcraft.

And yet, under this sharper focus, Event Horizon falls apart. Despite the aggression and fast pace, the riffs of songs like “Year of the Dog” or “Masaan” lack meaningful heft and rarely coagulate into a satisfying whole. Connecting the riffs in Event Horizon is a sea of bloat in the shape of melodically anemic passages that make Event Horizon’s 36-minute runtime feel much longer than it is. The particularly egregious midsection of “Worms” goes nowhere fast with directionless tremolos blazing away and wasting the song’s decent opening. The first half of “Fireborn” carries a similar aimlessness. If the intent of this guitar-work is to create a labyrinthine, snaking sensation across Event Horizon as a whole, then it needs more melodic intention and inspiration. I do like “At the Heart of the Unknown,” where a spartan intro builds black-metal discordance into a truly satisfying riff, although the song does overstay its welcome by about a minute. The ambient “Transhimalaja+,” which is spread across Event Horizon in three parts, is also strong in a vacuum. It’s well-made ambient music, but it’s a tonal clash with the rest of Event Horizon, as if it were from a different album.

Which is because it is! “Transhimalaja+” is a song by the German group Popul Vuh, or more specifically, a song written by Florian Fricke, a founding member of Popul Vuh.1 Incomprehensibly, Mouth of Madness split Fricke’s six-minute “Transhimalaja+” into three asymmetrical parts and played them in reverse order across the album, entirely unaltered. It baffles me. It doesn’t tie Event Horizon together, since “Transhimalaja+” strikes a mysterious, almost ominous tone that the remainder of Event Horizon barely reflects. It also poorly serves the album’s pacing. “Worms” clumsily transitions into “Transhimalaja+ II” which in turn clumsily transitions into “Fireborn,” and then “Masaan” ends on a flimsy down-note that abruptly jumps to “Transhimalaja+ III.” Mouth of Madness’ implementation of “Transhimalaja+” crucifies Event Horizon on its own promise of originality. I doubt there’s a legal issue—considering that the promo blurb mentioned Popul Vuh, I charitably imagine the label must’ve gotten permission or some equivalent, but the implied legality doesn’t excuse the miserable laziness of it.2

It is a truly joyless endeavor to come down on a band like this, especially one like Mouth of Madness who’ve just released their first LP after over a decade. And yet, I can’t ignore that their inclusion of Florian Fricke’s “Transhimalaja+” is both baffling and insulting, and contributes to a discouraging debut. But I’ve yet to review a band where I don’t yearn for their growth and improvement. While their “curious take on metal” rings hollow, a solid cut like “At the Heart of the Unknown” does demonstrate that Mouth of Madness has potential. As with any artist, I will always want to see that potential realized, and I look forward to the day I can recommend Mouth of Madness to all. But guys, even if it’s as small as an ambient opener or interlude, write ’em yourself, for fucks sake.

Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: Darkness Shall Rise Productions
Websites: facebook | bandcamp
Releases Worldwide: July 16th, 2025

#15 #2025 #BlackMetal #DarknessShallRiseProductions #DeathMetal #EventHorizon #GermanMetal #Jul25 #MorbidAngel #MouthOfMadness #Review #Reviews

Mouth of Madness – Event Horizon Review

By Mystikus Hugebeard

As metalheads, there are many things we collectively appreciate about our musical genre, but one important component I often see lauded is originality. It’s not exactly a deal-breaker, but it can be exhilarating to listen to something treading unexplored territory. Indeed, a common complaint leveled against artists is calling a piece “derivative” or some such. If you count yourself amongst those who take umbrage with being unoriginal, then look no further than German duo Mouth of Madness and their debut album Event Horizon! After all, the pre-release literature simply spoils me for assurances that Event Horizon represents “an inspired band’s curious take on metal that, due to its originality, defies being easily tagged,” amongst other choice phrases. Fair’s fair, Event Horizon’s artwork does titillate the imagination, with a striking image enriched by stark colors. Fine, I’ll bite.

As my teeth sink in, it first becomes clear that Mouth of Madness are first and foremost practitioners of death metal. “Sex and Thanatos” opens up the album proper with some swedeath swagger and Morbid Angel chugging, while the following “Year of the Dog” offers a clearer picture of Event Horizon’s style. The guitars riff with thrashy abandon across a blackened tremolo-driven edge, as the drums consistently maintain a blast-beat pace. The lead guitars are sadly given scant little to do, outside of a few fun wails in “Worms.” Event Horizon’s production job is clean and crisp. It eschews the usual blunt force one might typically get with death metal, and I do rather like the soundscape. It feels minimalist in a way I fondly associate with early black metal without sounding like it was recorded in a garbage can, and allows one’s focus to rest squarely on the songcraft.

And yet, under this sharper focus, Event Horizon falls apart. Despite the aggression and fast pace, the riffs of songs like “Year of the Dog” or “Masaan” lack meaningful heft and rarely coagulate into a satisfying whole. Connecting the riffs in Event Horizon is a sea of bloat in the shape of melodically anemic passages that make Event Horizon’s 36-minute runtime feel much longer than it is. The particularly egregious midsection of “Worms” goes nowhere fast with directionless tremolos blazing away and wasting the song’s decent opening. The first half of “Fireborn” carries a similar aimlessness. If the intent of this guitar-work is to create a labyrinthine, snaking sensation across Event Horizon as a whole, then it needs more melodic intention and inspiration. I do like “At the Heart of the Unknown,” where a spartan intro builds black-metal discordance into a truly satisfying riff, although the song does overstay its welcome by about a minute. The ambient “Transhimalaja+,” which is spread across Event Horizon in three parts, is also strong in a vacuum. It’s well-made ambient music, but it’s a tonal clash with the rest of Event Horizon, as if it were from a different album.

Which is because it is! “Transhimalaja+” is a song by the German group Popul Vuh, or more specifically, a song written by Florian Fricke, a founding member of Popul Vuh.1 Incomprehensibly, Mouth of Madness split Fricke’s six-minute “Transhimalaja+” into three asymmetrical parts and played them in reverse order across the album, entirely unaltered. It baffles me. It doesn’t tie Event Horizon together, since “Transhimalaja+” strikes a mysterious, almost ominous tone that the remainder of Event Horizon barely reflects. It also poorly serves the album’s pacing. “Worms” clumsily transitions into “Transhimalaja+ II” which in turn clumsily transitions into “Fireborn,” and then “Masaan” ends on a flimsy down-note that abruptly jumps to “Transhimalaja+ III.” Mouth of Madness’ implementation of “Transhimalaja+” crucifies Event Horizon on its own promise of originality. I doubt there’s a legal issue—considering that the promo blurb mentioned Popul Vuh, I charitably imagine the label must’ve gotten permission or some equivalent, but the implied legality doesn’t excuse the miserable laziness of it.2

It is a truly joyless endeavor to come down on a band like this, especially one like Mouth of Madness who’ve just released their first LP after over a decade. And yet, I can’t ignore that their inclusion of Florian Fricke’s “Transhimalaja+” is both baffling and insulting, and contributes to a discouraging debut. But I’ve yet to review a band where I don’t yearn for their growth and improvement. While their “curious take on metal” rings hollow, a solid cut like “At the Heart of the Unknown” does demonstrate that Mouth of Madness has potential. As with any artist, I will always want to see that potential realized, and I look forward to the day I can recommend Mouth of Madness to all. But guys, even if it’s as small as an ambient opener or interlude, write ’em yourself, for fucks sake.

Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: Darkness Shall Rise Productions
Websites: facebook | bandcamp
Releases Worldwide: July 16th, 2025

#15 #2025 #BlackMetal #DarknessShallRiseProductions #DeathMetal #EventHorizon #GermanMetal #Jul25 #MorbidAngel #MouthOfMadness #Review #Reviews

Mouth of Madness – Event Horizon Review

By Mystikus Hugebeard

As metalheads, there are many things we collectively appreciate about our musical genre, but one important component I often see lauded is originality. It’s not exactly a deal-breaker, but it can be exhilarating to listen to something treading unexplored territory. Indeed, a common complaint leveled against artists is calling a piece “derivative” or some such. If you count yourself amongst those who take umbrage with being unoriginal, then look no further than German duo Mouth of Madness and their debut album Event Horizon! After all, the pre-release literature simply spoils me for assurances that Event Horizon represents “an inspired band’s curious take on metal that, due to its originality, defies being easily tagged,” amongst other choice phrases. Fair’s fair, Event Horizon’s artwork does titillate the imagination, with a striking image enriched by stark colors. Fine, I’ll bite.

As my teeth sink in, it first becomes clear that Mouth of Madness are first and foremost practitioners of death metal. “Sex and Thanatos” opens up the album proper with some swedeath swagger and Morbid Angel chugging, while the following “Year of the Dog” offers a clearer picture of Event Horizon’s style. The guitars riff with thrashy abandon across a blackened tremolo-driven edge, as the drums consistently maintain a blast-beat pace. The lead guitars are sadly given scant little to do, outside of a few fun wails in “Worms.” Event Horizon’s production job is clean and crisp. It eschews the usual blunt force one might typically get with death metal, and I do rather like the soundscape. It feels minimalist in a way I fondly associate with early black metal without sounding like it was recorded in a garbage can, and allows one’s focus to rest squarely on the songcraft.

And yet, under this sharper focus, Event Horizon falls apart. Despite the aggression and fast pace, the riffs of songs like “Year of the Dog” or “Masaan” lack meaningful heft and rarely coagulate into a satisfying whole. Connecting the riffs in Event Horizon is a sea of bloat in the shape of melodically anemic passages that make Event Horizon’s 36-minute runtime feel much longer than it is. The particularly egregious midsection of “Worms” goes nowhere fast with directionless tremolos blazing away and wasting the song’s decent opening. The first half of “Fireborn” carries a similar aimlessness. If the intent of this guitar-work is to create a labyrinthine, snaking sensation across Event Horizon as a whole, then it needs more melodic intention and inspiration. I do like “At the Heart of the Unknown,” where a spartan intro builds black-metal discordance into a truly satisfying riff, although the song does overstay its welcome by about a minute. The ambient “Transhimalaja+,” which is spread across Event Horizon in three parts, is also strong in a vacuum. It’s well-made ambient music, but it’s a tonal clash with the rest of Event Horizon, as if it were from a different album.

Which is because it is! “Transhimalaja+” is a song by the German group Popul Vuh, or more specifically, a song written by Florian Fricke, a founding member of Popul Vuh.1 Incomprehensibly, Mouth of Madness split Fricke’s six-minute “Transhimalaja+” into three asymmetrical parts and played them in reverse order across the album, entirely unaltered. It baffles me. It doesn’t tie Event Horizon together, since “Transhimalaja+” strikes a mysterious, almost ominous tone that the remainder of Event Horizon barely reflects. It also poorly serves the album’s pacing. “Worms” clumsily transitions into “Transhimalaja+ II” which in turn clumsily transitions into “Fireborn,” and then “Masaan” ends on a flimsy down-note that abruptly jumps to “Transhimalaja+ III.” Mouth of Madness’ implementation of “Transhimalaja+” crucifies Event Horizon on its own promise of originality. I doubt there’s a legal issue—considering that the promo blurb mentioned Popul Vuh, I charitably imagine the label must’ve gotten permission or some equivalent, but the implied legality doesn’t excuse the miserable laziness of it.2

It is a truly joyless endeavor to come down on a band like this, especially one like Mouth of Madness who’ve just released their first LP after over a decade. And yet, I can’t ignore that their inclusion of Florian Fricke’s “Transhimalaja+” is both baffling and insulting, and contributes to a discouraging debut. But I’ve yet to review a band where I don’t yearn for their growth and improvement. While their “curious take on metal” rings hollow, a solid cut like “At the Heart of the Unknown” does demonstrate that Mouth of Madness has potential. As with any artist, I will always want to see that potential realized, and I look forward to the day I can recommend Mouth of Madness to all. But guys, even if it’s as small as an ambient opener or interlude, write ’em yourself, for fucks sake.

Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps
Label: Darkness Shall Rise Productions
Websites: facebook | bandcamp
Releases Worldwide: July 16th, 2025

#15 #2025 #BlackMetal #DarknessShallRiseProductions #DeathMetal #EventHorizon #GermanMetal #Jul25 #MorbidAngel #MouthOfMadness #Review #Reviews

I've actually never heard of " #OrientalMetal " before

#Genre was maybe the wrong word to use before (not sure if I should go back and change it?) the geographic label is more just a "category" that overlaps with genre and style.

There is also a #GermanMetal playlist https://open.spotify.com/playlist/37i9dQZF1EId7CFKROoBp9

But that isn't simple either… it could be a language category if not for the English Language band "Emigrate" featuring #RichardKruspe from #Rammstein … and one track from "Oomph!" in English

and it doesn't work as a national category because it features #Nachtmar from #Austria and #Laibach from #Slovenia (both a bit problematic) but at least they didn't include the bands from the USA that use some #German in their lyrics? (often less problematic, just not very German)

maybe "German Metal" works as a "theme"?

I'm not sure if "Arab metal" works as a category at all? Maybe "Arabic metal" including a few related tracks like that "German metal" list?

I thought this thread was forking but it's ended up linking back to the "where does Melechesh come from?" #Znous don't seem to think they are #IsraeliMetal "We understand that things went the way they went with early “Oriental Metal” bands coming from historical Palestine like #Melechesh or #OrphanedLand (which were the first to be labelled so). Many newer bands coming from the region have unfortunately adhered to this bordering-racist and discriminatory term/genre." https://www.znousland.net/we-are-not-oriental-metal-do-not-exotify-us/ (same link as in previous post)

I also saw Orphaned Land on that "Israeli Metal" list https://open.spotify.com/playlist/37i9dQZF1EIfUNA6VGyfJf they are just "Formed in Israel in 1991…" https://open.spotify.com/artist/7xTMxqAmbtE0Nce5lz7t0h

I'm not sure how they identify given the essay from Znous describes them as from "historical Palestine" but i am curious now…

Now I am wondering if there a #ChineseMetal #spotifyPlaylist with #Chthonic on it?

cc @[email protected] @[email protected] @[email protected] @[email protected]

#HistoricalPalestine #90sMusic #90sMetal #PalestinianMusic

I've actually never heard of " #OrientalMetal " before

#Genre was maybe the wrong word to use before (not sure if I should go back and change it?) the geographic label is more just a "category" that overlaps with genre and style.

There is also a #GermanMetal playlist https://open.spotify.com/playlist/37i9dQZF1EId7CFKROoBp9

But that isn't simple either… it could be a language category if not for the English Language band "Emigrate" featuring #RichardKruspe from #Rammstein … and one track from "Oomph!" in English

and it doesn't work as a national category because it features #Nachtmar from #Austria and #Laibach from #Slovenia (both a bit problematic) but at least they didn't include the bands from the USA that use some #German in their lyrics? (often less problematic, just not very German)

maybe "German Metal" works as a "theme"?

I'm not sure if "Arab metal" works as a category at all? Maybe "Arabic metal" including a few related tracks like that "German metal" list?

I thought this thread was forking but it's ended up linking back to the "where does Melechesh come from?" #Znous don't seem to think they are #IsraeliMetal "We understand that things went the way they went with early “Oriental Metal” bands coming from historical Palestine like #Melechesh or #OrphanedLand (which were the first to be labelled so). Many newer bands coming from the region have unfortunately adhered to this bordering-racist and discriminatory term/genre." https://www.znousland.net/we-are-not-oriental-metal-do-not-exotify-us/ (same link as in previous post)

I also saw Orphaned Land on that "Israeli Metal" list https://open.spotify.com/playlist/37i9dQZF1EIfUNA6VGyfJf they are just "Formed in Israel in 1991…" https://open.spotify.com/artist/7xTMxqAmbtE0Nce5lz7t0h

I'm not sure how they identify given the essay from Znous describes them as from "historical Palestine" but i am curious now…

Now I am wondering if there a #ChineseMetal #spotifyPlaylist with #Chthonic on it?

cc @[email protected] @[email protected] @[email protected] @[email protected]

#HistoricalPalestine #90sMusic #90sMetal #PalestinianMusic

I've actually never heard of " #OrientalMetal " before

#Genre was maybe the wrong word to use before (not sure if I should go back and change it?) the geographic label is more just a "category" that overlaps with genre and style.

There is also a #GermanMetal playlist https://open.spotify.com/playlist/37i9dQZF1EId7CFKROoBp9

But that isn't simple either… it could be a language category if not for the English Language band "Emigrate" featuring #RichardKruspe from #Rammstein … and one track from "Oomph!" in English

and it doesn't work as a national category because it features #Nachtmar from #Austria and #Laibach from #Slovenia (both a bit problematic) but at least they didn't include the bands from the USA that use some #German in their lyrics? (often less problematic, just not very German)

maybe "German Metal" works as a "theme"?

I'm not sure if "Arab metal" works as a category at all? Maybe "Arabic metal" including a few related tracks like that "German metal" list?

I thought this thread was forking but it's ended up linking back to the "where does Melechesh come from?" #Znous don't seem to think they are #IsraeliMetal "We understand that things went the way they went with early “Oriental Metal” bands coming from historical Palestine like #Melechesh or #OrphanedLand (which were the first to be labelled so). Many newer bands coming from the region have unfortunately adhered to this bordering-racist and discriminatory term/genre." https://www.znousland.net/we-are-not-oriental-metal-do-not-exotify-us/ (same link as in previous post)

I also saw Orphaned Land on that "Israeli Metal" list https://open.spotify.com/playlist/37i9dQZF1EIfUNA6VGyfJf they are just "Formed in Israel in 1991…" https://open.spotify.com/artist/7xTMxqAmbtE0Nce5lz7t0h

I'm not sure how they identify given the essay from Znous describes them as from "historical Palestine" but i am curious now…

Now I am wondering if there a #ChineseMetal #spotifyPlaylist with #Chthonic on it?

cc @[email protected] @[email protected] @[email protected] @[email protected]

#HistoricalPalestine #90sMusic #90sMetal #PalestinianMusic

I've actually never heard of " #OrientalMetal " before

#Genre was maybe the wrong word to use before (not sure if I should go back and change it?) the geographic label is more just a "category" that overlaps with genre and style.

There is also a #GermanMetal playlist https://open.spotify.com/playlist/37i9dQZF1EId7CFKROoBp9

But that isn't simple either… it could be a language category if not for the English Language band "Emigrate" featuring #RichardKruspe from #Rammstein … and one track from "Oomph!" in English

and it doesn't work as a national category because it features #Nachtmar from #Austria and #Laibach from #Slovenia (both a bit problematic) but at least they didn't include the bands from the USA that use some #German in their lyrics? (often less problematic, just not very German)

maybe "German Metal" works as a "theme"?

I'm not sure if "Arab metal" works as a category at all? Maybe "Arabic metal" including a few related tracks like that "German metal" list?

I thought this thread was forking but it's ended up linking back to the "where does Melechesh come from?" #Znous don't seem to think they are #IsraeliMetal "We understand that things went the way they went with early “Oriental Metal” bands coming from historical Palestine like #Melechesh or #OrphanedLand (which were the first to be labelled so). Many newer bands coming from the region have unfortunately adhered to this bordering-racist and discriminatory term/genre." https://www.znousland.net/we-are-not-oriental-metal-do-not-exotify-us/ (same link as in previous post)

I also saw Orphaned Land on that "Israeli Metal" list https://open.spotify.com/playlist/37i9dQZF1EIfUNA6VGyfJf they are just "Formed in Israel in 1991…" https://open.spotify.com/artist/7xTMxqAmbtE0Nce5lz7t0h

I'm not sure how they identify given the essay from Znous describes them as from "historical Palestine" but i am curious now…

Now I am wondering if there a #ChineseMetal #spotifyPlaylist with #Chthonic on it?

cc @[email protected] @[email protected] @[email protected] @[email protected]

#HistoricalPalestine #90sMusic #90sMetal #PalestinianMusic