#haken — Public Fediverse posts

Zo, proeflapje gedaan. Vertrouwen genoeg dat ik hier een nieuwe deken mee kan maken, dus nieuw garen gekocht.

Doopnaam #DrakenoogDeken voor hen die het nieuwe project willen volgen.

#haken #crochet

Zo, proeflapje gedaan. Vertrouwen genoeg dat ik hier een nieuwe deken mee kan maken, dus nieuw garen gekocht.

Doopnaam #DrakenoogDeken voor hen die het nieuwe project willen volgen.

#haken #crochet

Zo, proeflapje gedaan. Vertrouwen genoeg dat ik hier een nieuwe deken mee kan maken, dus nieuw garen gekocht.

Doopnaam #DrakenoogDeken voor hen die het nieuwe project willen volgen.

#haken #crochet

Zo, proeflapje gedaan. Vertrouwen genoeg dat ik hier een nieuwe deken mee kan maken, dus nieuw garen gekocht.

Doopnaam #DrakenoogDeken voor hen die het nieuwe project willen volgen.

#haken #crochet

Zo, proeflapje gedaan. Vertrouwen genoeg dat ik hier een nieuwe deken mee kan maken, dus nieuw garen gekocht.

Doopnaam #DrakenoogDeken voor hen die het nieuwe project willen volgen.

#haken #crochet

Ok mede-haakgenoten... Help. Nieuw (usa) patroon en ik loop tegen een klein ding aan.
Ik ben op toer 3 en moet na een serie steken nu 6 lossen haken. 📍

Hoe doe ik dat?
Betekent dat 6 losse steken om de sprong naar de volgende serie te overbruggen? En dan weer insteken met de eerste vaste?

#haken

Ok mede-haakgenoten... Help. Nieuw (usa) patroon en ik loop tegen een klein ding aan.
Ik ben op toer 3 en moet na een serie steken nu 6 lossen haken. 📍

Hoe doe ik dat?
Betekent dat 6 losse steken om de sprong naar de volgende serie te overbruggen? En dan weer insteken met de eerste vaste?

#haken

Ok mede-haakgenoten... Help. Nieuw (usa) patroon en ik loop tegen een klein ding aan.
Ik ben op toer 3 en moet na een serie steken nu 6 lossen haken. 📍

Hoe doe ik dat?
Betekent dat 6 losse steken om de sprong naar de volgende serie te overbruggen? En dan weer insteken met de eerste vaste?

#haken

Ok mede-haakgenoten... Help. Nieuw (usa) patroon en ik loop tegen een klein ding aan.
Ik ben op toer 3 en moet na een serie steken nu 6 lossen haken. 📍

Hoe doe ik dat?
Betekent dat 6 losse steken om de sprong naar de volgende serie te overbruggen? En dan weer insteken met de eerste vaste?

#haken

Ok mede-haakgenoten... Help. Nieuw (usa) patroon en ik loop tegen een klein ding aan.
Ik ben op toer 3 en moet na een serie steken nu 6 lossen haken. 📍

Hoe doe ik dat?
Betekent dat 6 losse steken om de sprong naar de volgende serie te overbruggen? En dan weer insteken met de eerste vaste?

#haken

Klaar! #noordzeekustKussen voor bij de #noordzeekustDeken

#haken #crochet

Klaar! #noordzeekustKussen voor bij de #noordzeekustDeken

#haken #crochet

Klaar! #noordzeekustKussen voor bij de #noordzeekustDeken

#haken #crochet

Klaar! #noordzeekustKussen voor bij de #noordzeekustDeken

#haken #crochet

Klaar! #noordzeekustKussen voor bij de #noordzeekustDeken

#haken #crochet

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

#FotoVorschlag
"Alltagshelferlein"
#flaschenoffner #ehrenvorsitzender #alleInGelb #BVB09 #haken #Alltagshelfer #klemmhaken #rundhaken #kuechenhelfer #kueche #kombihelfer #krammarktWermelskirchen #elbschloss #ikea #haushaltshelferlein #draht #alttext #alttext4u

Stuck in the Filter: May 2024’s Angry Misses

By Kenstrosity

I thought the onset of summer would mean a total solar beatdown. Instead, it’s brought the rain. Absolutely chucking down rain. But, if you thought that bad weather leads to mercy from me, you’re dead wrong. In fact, I pushed my minions even harder to dredge up as many waterlogged nuggets of notable ore from our perpetually overtaxed filtration system.

And so, as my “staff,” who are definitely paid (don’t look into it) dry off in the industrial-grade wind tunnel, allow me to introduce May’s Filter entries for a public I truly don’t care about at all (don’t look into it). BEHOLD!

Iceberg’s Divisive Defenstrations

Cobra The Impaler // Karma Collision [May 24th, 2024 – Listenable Records]

Belgium’s Cobra The Impaler bill themselves as carrying the torch of classic-era Mastodon, a band hitting so many spectrums of metal comparing one’s music to theirs is a much safer bet than not. Led by primary songwriter and ex-Aborted guitarist Tace DC, the band sit somewhere in the murky grey between progressive and technical modern metal. The aforementioned Mastodon worship is strong here—especially in opener “Magnetic Hex”—although the crystal clean production by Jens Borgren really prevents the use of the term “sludge.” Elsewhere there are prog-metal moments of Virus/Vector-era Haken (“Karma Collision,” “The Fountain”) and some of the relentless, drums-in-front compositions of Gojira (“Karma Collision,” “The Assassins of the Vision”). Vocalist Manuel Remmerie’s also has his work cut out for him, delivering plenty of admirable cleans in both high and low registers alongside full-throated screams and somewhat less effective pitched growls. The instrumental performances here are top-notch, professional in the verse/chorus sections, and continuously—sometimes outstandingly—creative in the free-form bridges. There is some tightening to be done with the accessibility of the choruses—they fall flat against the superior instrumental sections— but there are moments of brilliance and a ton of potential in this five-piece.

Capstan // The Mosaic [May 24th, 2024 – Fearless Records]

Anyone who’s plugged into the post-hardcore scene should know that Florida’s Capstan transcend the—rightfully deserved—vitriol thrown at the style. I don’t think any Fearless band has ever been reviewed here, but Capstan’s latest opus The Mosaic deserves a shoutout to whomever hasn’t run screaming from these halls. Led by vocalist Anthony DeMario—sure to be a divisive figure with his unapologetic pop punk cleans—the band has continuously augmented their Warped-core sound with the mathy guitar noodlings of Chon or Polyphia, and an impressive triple vocalist attack for thick, elaborate harmonies. This album, clocking in at over an hour, doesn’t pull any punches, showcasing trip-hop, breakdown-laced numbers (“Bete Noire”), full throated anthems about self-loathing and heartbreak (“Misery Scene”) and even lighter, crooning ballads (“What Can I Say”). Synergy and professionalism are where the band shine; everything has is slickly produced and the performances—especially those vocals—are whip-smart. Plenty of editing could have been done, but you can tell how much fun the band is having. Anyone with a passing interest or nostalgia for 2000’s post-hardcore should check this out. Plus their drummer plays with traditional grip, and watching a jazz guy slam out breakdowns is pretty rad in my book.

GardensTale’s Dose of Decay

Strychnos // Armageddon Patronage [May 17th, 2024 – Dark Descent Records]

I don’t always check out albums that set the comment section and/or Discord abuzz, but when I do, it rarely results in anything less than interesting. Case in point, the bottomless evil of Strychnos, a Danish outfit that struggled to get off the ground in the early 00’s, eked out a single EP in the 10’s, and suddenly started shitting out heaving platters of malicious black/death since the pandemic. Armageddon Patronage is the second full-length off their new production line, and it brings every horseman along for its deadly ride. War is embodied by the lethal double feature that starts the charge, with swelling riffs battering the unjust to fertilizer. The unflinching and unfeeling brutality of Famine seethes from “Choking Salvation,” and out the beaks of “Pale Black Birds” pours Pestilence with slavering enthusiasm. Frontman Martin Leth Anderson, who also handles bass for Undergang, employs a bellowing growl that encapsulates hopelessness and suffering, and the excellent, malevolent riffs usher an effective aura of utter destruction. Death, however, comes not at the end, but during the doom-laden centerpiece, the despondent “Endless Void Dimension” with its atmospheric Gregorian chanting. I have no qualms becoming a patron to this spiteful chunk of armageddon.

Dear Hollow’s Shtanky Shwamp of Shrieks

Saidan // Visual Kill: The Blossoming of Psychotic Depravity [May 24th, 2024 – Self-Released]

Saidan do things a little differently. The Nashville duo’s themes rooted in Japanese folklore and the formidable and mysterious yokai in particular, combined with a relentlessly riffy and punk-driven tour-de-force of black metal proportions are always food for thought in the act’s brief and formidable history. Seamlessly transitioning between punk chord progressions and bouncy drums to blastbeats and kvlt tremolo to groovy riffs and rhythms, anchored by Splatterpvnk’s ripping vocals, it never shies away from punishment. However, interwoven with this assault is a distinctly melodic undercurrent that brightens the progressions and gives purpose and a sense of fun – a hyper-melodic black metal act would be jealous. You won’t be able to shake the grooves of “Desecration of a Lustful Illusion,” the symphonic black intensity of “Genocidal Bloodfiend” and “Veins of the Wicked” hit you like a cyclone, and the classic thrash solos and anime-theme-song vibe of “Sick Abducted Purity,” “Visual Kill,” and “Switchblade Paradise” are guaranteed to get your head banging – plus, the interlude “seraphic lullaby” and instrumental closer “suffer” ain’t half bad. Visual Kill is like if Powerglove wrote a black metal album that you could actually take seriously, backed up with the technicality, songwriting chops, and sheer unbridled energy to make it work.

Parfaxitas // Weaver of the Black Moon [May 31st, 2024 – Terratur Possessions]

The minds behind Parfaxitas should need little introduction, although the moniker will likely not ring any bells. Representing three separate scenes and their respective contributions to black metal lore, two American stringsmen from acts Merihem, Suffering Hour, and Manetherean, Icelandic drummer B.E. from Almyrkvi, Sinmara, Slidhr, and Wormlust, and Norwegian vocalist K.R. From Whoredom Rife collide. Weaver of the Black Moon combines the blueprint of second-wave Norwegian black with the obsidian dissonance of Icelandic, and the experimental edge of American acts, making it a tour-de-force of both vicious sound and tortured atmosphere. Dissonance rains down like acid, a backdrop, and shroud of otherworldly sounds that shimmer and crunch in ways that recall both the winding passages of Suffering Hour and the psychedelic rawness of Wormlust simultaneously. Hammered by vicious blastbeats and guided by tortured barks, the guitar and meandering fluid bass guide listeners from untouchable intensity (“Thou Shalt Worship No Other”) to haunting and hypnotic atmosphere (“Ravens of Dispersion”) – stealing the show. Parfaxitas features a whole lot of firepower, culminating in epic closer “Fields of Nightmares,” a crescendo of punishing and otherworldly proportions.

Aseitas // Eden Trough [May 30th, 2024 – Total Dissonance Worship]

After Aseitas’ formidable 2020 album False Peace, which narrowly missed my AOTY’s, the Portland trio is back with another album – which could easily be classified as an EP in its tidy thirty-minute runtime. Eden Trough condenses the lofty and decadent ambition of its predecessor for an album devoted to complete takedown in winding riffs, punishing death metal, and ravaging vocals. From the thick and punishing signature shifts of “Libertine Captor” and “Alabaster Bones,” complete with shifting riffs and a liminal sense of melody, to the more droning and haunting “Break the Neck of Every Beautiful Thing,” to the epic and cosmic psychedelia of ten-minute centerpiece “Tiamat,” Aseitas’ shows its tantalizing and gradual progression to an echelon of indispensable in the world of dissonant death. Offering influences of convulsive mathcore, mammoth post-metal, and unhinged yet intensely calculated technicality, Eden Trough is a must-listen for the long-time fan, as well as proffering a snapshot to the curious of what makes Aseitas so special to begin with.

Dolphin Whisperer’s Progalicious Ponderings

Azure // Fym [May 23rd, 2024 – Self Release]

Are you way into high fantasy and exuberant, progressive albums that reflect that sentiment? If so, look no further than Azure’s third opus, Fym, which over its runtime recounts the tales of a mystical fox’s journey in a frightening and whimsical world. Normally I wouldn’t think twice about an album with such a storybook concept.1 But between Chris Sampson’s vocal navigations that ring as hyper-tenor and dolphin-like (“The Lavender Fox”)2 as they do sullen and heart-wrenching (“Kingdom of Ice and Light,” “Moonrise”), and Galen Stapley’s mystical fretboard wizardry that marries funk chords, soundtrack melodies, and dance-able shred, Azure packs too much sunshine in their prog for me to ignore. And at almost eighty minutes, they pack a lot of it too. However, each run through Fym’s pages finds a new rumbling bass bounce to propel a hop, a new vocal run to twirl my tongue (with notes that I couldn’t possibly hit), or a synthfully sinful refrain to stain my brain matter with happy juice—”The Azdinist // Den of Dawns” or “Agentic State” unite these ideas best—it’s truly a hard album to put down. Combining just about every era of Genesis with the acrobatics of Dream Theater, the play and ambition of the earliest of Pain of Salvation theatrics, and healthy dose of modern bastardizations (check the autotune/pitchshifting on “Doppelgänger”), Azure has made a mighty statement with Fym that I’m still digesting. And with as many inventive synth patches, harmonic vocal layers, and cinematic builds as this rainbow dose of prog pushes, it’ll be quite some time before I’ve made up my mind about it all. So I’ll continue in pieces. Or all at once. Whatever time allows because Fym is just that much fun.

PreHistoric Animals // Finding Love in Strange Places [May 16th, 2024 – Dutch Music Works]

And here we are with, what’s that, another prog concept album? This one’s a little less terrestrial though, featuring healthy infusions of a futuristic space drama and heavy-hitting synthwave doots and bounces. Over the course of their past couple works, PreHistoric Animals has found an ease in comfortable exploration with their King’s X-like tendency to grip with a barbed verse melody or chorus explosion, layered tastefully with harmonic vocal accompaniment and groove-heavy riffs. But, despite that comparison, it’s clear from the opening synth pulse of “The City of My Dreams” and “Living in a World of Bliss” that an electronic and hooky identity that’s caught between Toto and Yes imbues the edges of refrains that stick like honey to vocalist Stefan Altzar’s easy-on-the-ears narrative. Finding Love in Strange Places can get bogged down a touch in its word-driven nature, though, especially on the various interludes and certain longer tracks like “Unbreakable” and “Nothing Has Changed but Everything Is Different.” None of that fluff ever truly interrupts Finding Love’s heartbeat rhythms, which hold a steady if highly syncopated simplicity and form a hi-hat charming vessel that keeps the head nodding in progressive pomp. Oh, and it helps that guitarists Altzar and Daniel Magdic (ex-Pain of Salvation) have studied the slow-burn solo nature of greats like David Gilmour (Pink Floyd) and Brian May (Queen), with tasteful legato and searing ascensions aiding in earned crescendo at Finding Love’s best moments (“Living in a World of Bliss,” “The Secret of Goodness”). Having reliably churned out confident and catchy works every other years since 2018, PreHistoric Animals fly relatively low in the flock of modern prog, but these space-bound Swedes have earned a likely lifelong aquatic fan at this stage of their growing career. Give Love a chance!

Matrass // Cathedrals [May 17th, 2024 – La Tangente Label]

And, last but not least from my assortment, Matrass hails from France to bring you Cathedrals, which is… yes, you guessed it, another prog concept album! If you’re worried about another album of the synthtastic and 80s prog-themed variety, though, don’t fret about what Matrass brings to the table. Playing closer to post than progressive waters, Cathedrals flitters about dreamy, lounge jazz guitar passages before crushing down with Cult of Luna riffs and Tesseract-inspired, low-end atmospherics. But most important to the groove and cinematic lilt that defines Cathedrals is the methods by which vocalist Clémentine Browne navigates jangling verses with gentle croons and accented, rhythmic spoken word before frying down with screeching and hissing fervor against heavy chord crushes. That talent for establishing and reinforcing mood lands idiosyncratic in the realm of post acts, so her exact methods may not fit the bill for all fans of the rise-and-fall aesthetic the genre offers. And though Matrass remains largely iterative of this mood through its hour-long run, it’s that successful idea of atmosphere that allows peak tracks “Shreds,” “Adrift” (which features Browne on saxophone instead), and “Cathedrals” to conjure such powerful and drifting thoughts in my head. And when you’re in its valleys? Matrass still maintains a textural backdrop that spells high potential for this young act.

Saunders’ Sulfuric Stash

Desolus // System Shock [March 10th, 2024 – Hells Headbangers]

Who’s up for some explosive, throwback thrashy goodness? Although hailing from the States, Desolus take plenty of inspiration from classic German trash titans Kreator, Destruction and Sodom. Throw in classic Dark Angel vibes, a heavy, modern edge and crunchy production job, and the band’s debut System Shock ticks all the boxes for a thrashing great time. This shit is seriously jacked with unhinged, old-school aggression, spitfire riffs and stampeding percussion propelling the album’s ten speed-driven assaults. An utterly deranged, ’80s underground-inspired vocal performance adds further steel-plated authenticity to a retro-minded sound that manages to sound fresh and inspired. Aside from rare moments of slower melodic nuance on the otherwise blistering “Sea of Fire,” and the aptly titled “Interlude” providing a handy breather, Desolus crank speed and intensity to the max, rarely breaking from their relentless stride. The opening one-two salvo of “System Shock” and bonkers lunacy of “From Man to Machine” set a savage tone and gritty platform from which Desolus launch assault after assault of high-octane thrash mania. “Cures of the Technomancer” is an absolute riff beast with groove and speed for days, while “The Invasion Begins” deftly puts you in a false sense of bouncy melodic security before jamming the afterburners into a typically ferocious attack. Exuberant, nasty stuff.

Terminal Nation // Echoes of the Devil’s Den [May 3rd, 2024 – 20 Buck Spin]

The second album from Pittsburgh bruisers Terminal Nation hits with sledgehammer force, obliterating any semblance of subtlety in favor of an extra beefy, in-your-face hybrid of death metal and hardcore. Echoes of the Devil’s Den features a searing, politically charged and seriously pissed-off bite. High-profile guest vocal slots seamlessly blend into the vicious attack, including strong turns from Integrity‘s Dwid Hellion (“Release the Serpents”), Killswitch Engage‘s Jesse Leach (“Merchants of Bloodshed”) and Nails frontman Todd Jones. Jones features on “Written by the Victor,” a vicious tune that harnesses thick, neck-wrecking grooves and punishing, doom-laden death grooves. The album’s hardcore influence and political slant may turn off certain listeners, but those who don’t mind some hardcore in their death stew should find plenty to like here. The gritty, muscular exterior features nods to Bolt Thrower and All Shall Perish, while the weighty, mid-paced crush, chunky riffs and breakdowns are balanced by tasteful melodic counterpoints and livelier bursts of speed (“Dying Alive”). Not all works; the provocative, anti-police song “No Reform (New Age Slave Patrol)” musically has its moments; however, the heavy-handed lyrical approach sticks out like a sore thumb. Nevertheless, Echoes of the Devil’s Den swings and slugs you more often than it misses.

Steel Druhm’s Sewer Tarts

The Troops of Doom // A Mass to the Grotesque [May 31, 2024 – Alma Mater Records]

For their sophomore outing, Brazilian death-thrashers The Troops of Doom took their vintage Sepultura-esque sound and juiced it up considerably from what we heard on 2022s Antichrist Reborn. A Mass to the Grotesque still sounds a bunch like classic Sepultura but it’s much more refined, developed and expanded in scope. Yet it’s still a frenzied, thrashing assault full of lyrics about evil, demons, and all things anti-Christian. It sounds like something that should have dropped in as the 80s thrash wave started mutating into proto-death, and that is a beloved era of music for yours Steely. Songs like “Chapels of the Unholy” and “Dawn of Mephisto” sit right on the bleeding edge of thrash and early death, with Slayer-tastic riffs colliding with early examples of death grooves. What makes this so entertaining is how the band reaches outside of the Sepultura homage bubble to drag in new elements to expand their sound. Some songs feel slightly progressive (“Denied Divinity”) while elsewhere they shoehorn epic doom into the massive “Psalm 7:8 – God of Bizarre.” The straight-up riffbeasts are my favorites though, with “The Imposter King” being a big, fat, sweaty highlight. While these cats are always going to get compared to classic Sepultura, they made real efforts here to stake out their own identity. This is a wild, testosterone-fueled ride featuring the maximum allowable Satan, and I support that.

#20BuckSpin #2024 #AMassToTheGrotesque #Aborted #AllShallPerish #AlmaMaterRecords #Almyrkvi #AmericanMetal #ArmageddonPatronage #Aseitas #Azure #BelgianMetal #BlackMetal #BlackenedDeathMetal #BoltThrower #Capstan #Cathedrals #CHON #CobraTheImpaler #CultOfLuna #DanishMetal #DarkAngel #DarkDescentRecords #DeathMetal #Desolus #Destruction #DissonantDeathMetal #DreamTheater #DutchMusicWorks #EchoesOfTheDevilSDen #EdenTrough #FearlessRecords #FindingLoveInStrangePlaces #FrenchMetal #Fym #Genesis #GermanMetal #Gojira #Haken #Hardcore #HellsHeadbangers #Integrity #InternationalMetal #KarmaCollision #KillswitchEngage #KingsX #Kreator #LaTangenteLabel #ListenableRecords #Manetherean #Mastodon #Matrass #May24 #MelodicBlackMetal #Merihem #Nails #PainOfSalvation #Parfaxitas #PinkFloyd #Polyphia #PostHardcore #Powerglove #PreHistoricAnimals #ProgressiveMetal #Punk #Queen #Review #Reviews #Saidan #SelfReleased #Sinmara #Slidhr #Sodom #Strychnos #SufferingHour #SwedishMetal #SystemShock #TechnicalDeathMetal #TechnicalMetal #TerminalNation #TerraturPossessions #TesseracT #TheMosaic #TheTroopsOfDoom #TotalDissonanceWorship #UKMetal #Undergang #USMetal #VisualKillTheBlossomingOfPsychoticDepravity #WeaverOfTheBlackMoon #WhoredomeRife #Wormlust #Yes

Stuck in the Filter: May 2024’s Angry Misses

By Kenstrosity

I thought the onset of summer would mean a total solar beatdown. Instead, it’s brought the rain. Absolutely chucking down rain. But, if you thought that bad weather leads to mercy from me, you’re dead wrong. In fact, I pushed my minions even harder to dredge up as many waterlogged nuggets of notable ore from our perpetually overtaxed filtration system.

And so, as my “staff,” who are definitely paid (don’t look into it) dry off in the industrial-grade wind tunnel, allow me to introduce May’s Filter entries for a public I truly don’t care about at all (don’t look into it). BEHOLD!

Iceberg’s Divisive Defenstrations

Cobra The Impaler // Karma Collision [May 24th, 2024 – Listenable Records]

Belgium’s Cobra The Impaler bill themselves as carrying the torch of classic-era Mastodon, a band hitting so many spectrums of metal comparing one’s music to theirs is a much safer bet than not. Led by primary songwriter and ex-Aborted guitarist Tace DC, the band sit somewhere in the murky grey between progressive and technical modern metal. The aforementioned Mastodon worship is strong here—especially in opener “Magnetic Hex”—although the crystal clean production by Jens Borgren really prevents the use of the term “sludge.” Elsewhere there are prog-metal moments of Virus/Vector-era Haken (“Karma Collision,” “The Fountain”) and some of the relentless, drums-in-front compositions of Gojira (“Karma Collision,” “The Assassins of the Vision”). Vocalist Manuel Remmerie’s also has his work cut out for him, delivering plenty of admirable cleans in both high and low registers alongside full-throated screams and somewhat less effective pitched growls. The instrumental performances here are top-notch, professional in the verse/chorus sections, and continuously—sometimes outstandingly—creative in the free-form bridges. There is some tightening to be done with the accessibility of the choruses—they fall flat against the superior instrumental sections— but there are moments of brilliance and a ton of potential in this five-piece.

Capstan // The Mosaic [May 24th, 2024 – Fearless Records]

Anyone who’s plugged into the post-hardcore scene should know that Florida’s Capstan transcend the—rightfully deserved—vitriol thrown at the style. I don’t think any Fearless band has ever been reviewed here, but Capstan’s latest opus The Mosaic deserves a shoutout to whomever hasn’t run screaming from these halls. Led by vocalist Anthony DeMario—sure to be a divisive figure with his unapologetic pop punk cleans—the band has continuously augmented their Warped-core sound with the mathy guitar noodlings of Chon or Polyphia, and an impressive triple vocalist attack for thick, elaborate harmonies. This album, clocking in at over an hour, doesn’t pull any punches, showcasing trip-hop, breakdown-laced numbers (“Bete Noire”), full throated anthems about self-loathing and heartbreak (“Misery Scene”) and even lighter, crooning ballads (“What Can I Say”). Synergy and professionalism are where the band shine; everything has is slickly produced and the performances—especially those vocals—are whip-smart. Plenty of editing could have been done, but you can tell how much fun the band is having. Anyone with a passing interest or nostalgia for 2000’s post-hardcore should check this out. Plus their drummer plays with traditional grip, and watching a jazz guy slam out breakdowns is pretty rad in my book.

GardensTale’s Dose of Decay

Strychnos // Armageddon Patronage [May 17th, 2024 – Dark Descent Records]

I don’t always check out albums that set the comment section and/or Discord abuzz, but when I do, it rarely results in anything less than interesting. Case in point, the bottomless evil of Strychnos, a Danish outfit that struggled to get off the ground in the early 00’s, eked out a single EP in the 10’s, and suddenly started shitting out heaving platters of malicious black/death since the pandemic. Armageddon Patronage is the second full-length off their new production line, and it brings every horseman along for its deadly ride. War is embodied by the lethal double feature that starts the charge, with swelling riffs battering the unjust to fertilizer. The unflinching and unfeeling brutality of Famine seethes from “Choking Salvation,” and out the beaks of “Pale Black Birds” pours Pestilence with slavering enthusiasm. Frontman Martin Leth Anderson, who also handles bass for Undergang, employs a bellowing growl that encapsulates hopelessness and suffering, and the excellent, malevolent riffs usher an effective aura of utter destruction. Death, however, comes not at the end, but during the doom-laden centerpiece, the despondent “Endless Void Dimension” with its atmospheric Gregorian chanting. I have no qualms becoming a patron to this spiteful chunk of armageddon.

Dear Hollow’s Shtanky Shwamp of Shrieks

Saidan // Visual Kill: The Blossoming of Psychotic Depravity [May 24th, 2024 – Self-Released]

Saidan do things a little differently. The Nashville duo’s themes rooted in Japanese folklore and the formidable and mysterious yokai in particular, combined with a relentlessly riffy and punk-driven tour-de-force of black metal proportions are always food for thought in the act’s brief and formidable history. Seamlessly transitioning between punk chord progressions and bouncy drums to blastbeats and kvlt tremolo to groovy riffs and rhythms, anchored by Splatterpvnk’s ripping vocals, it never shies away from punishment. However, interwoven with this assault is a distinctly melodic undercurrent that brightens the progressions and gives purpose and a sense of fun – a hyper-melodic black metal act would be jealous. You won’t be able to shake the grooves of “Desecration of a Lustful Illusion,” the symphonic black intensity of “Genocidal Bloodfiend” and “Veins of the Wicked” hit you like a cyclone, and the classic thrash solos and anime-theme-song vibe of “Sick Abducted Purity,” “Visual Kill,” and “Switchblade Paradise” are guaranteed to get your head banging – plus, the interlude “seraphic lullaby” and instrumental closer “suffer” ain’t half bad. Visual Kill is like if Powerglove wrote a black metal album that you could actually take seriously, backed up with the technicality, songwriting chops, and sheer unbridled energy to make it work.

Parfaxitas // Weaver of the Black Moon [May 31st, 2024 – Terratur Possessions]

The minds behind Parfaxitas should need little introduction, although the moniker will likely not ring any bells. Representing three separate scenes and their respective contributions to black metal lore, two American stringsmen from acts Merihem, Suffering Hour, and Manetherean, Icelandic drummer B.E. from Almyrkvi, Sinmara, Slidhr, and Wormlust, and Norwegian vocalist K.R. From Whoredom Rife collide. Weaver of the Black Moon combines the blueprint of second-wave Norwegian black with the obsidian dissonance of Icelandic, and the experimental edge of American acts, making it a tour-de-force of both vicious sound and tortured atmosphere. Dissonance rains down like acid, a backdrop, and shroud of otherworldly sounds that shimmer and crunch in ways that recall both the winding passages of Suffering Hour and the psychedelic rawness of Wormlust simultaneously. Hammered by vicious blastbeats and guided by tortured barks, the guitar and meandering fluid bass guide listeners from untouchable intensity (“Thou Shalt Worship No Other”) to haunting and hypnotic atmosphere (“Ravens of Dispersion”) – stealing the show. Parfaxitas features a whole lot of firepower, culminating in epic closer “Fields of Nightmares,” a crescendo of punishing and otherworldly proportions.

Aseitas // Eden Trough [May 30th, 2024 – Total Dissonance Worship]

After Aseitas’ formidable 2020 album False Peace, which narrowly missed my AOTY’s, the Portland trio is back with another album – which could easily be classified as an EP in its tidy thirty-minute runtime. Eden Trough condenses the lofty and decadent ambition of its predecessor for an album devoted to complete takedown in winding riffs, punishing death metal, and ravaging vocals. From the thick and punishing signature shifts of “Libertine Captor” and “Alabaster Bones,” complete with shifting riffs and a liminal sense of melody, to the more droning and haunting “Break the Neck of Every Beautiful Thing,” to the epic and cosmic psychedelia of ten-minute centerpiece “Tiamat,” Aseitas’ shows its tantalizing and gradual progression to an echelon of indispensable in the world of dissonant death. Offering influences of convulsive mathcore, mammoth post-metal, and unhinged yet intensely calculated technicality, Eden Trough is a must-listen for the long-time fan, as well as proffering a snapshot to the curious of what makes Aseitas so special to begin with.

Dolphin Whisperer’s Progalicious Ponderings

Azure // Fym [May 23rd, 2024 – Self Release]

Are you way into high fantasy and exuberant, progressive albums that reflect that sentiment? If so, look no further than Azure’s third opus, Fym, which over its runtime recounts the tales of a mystical fox’s journey in a frightening and whimsical world. Normally I wouldn’t think twice about an album with such a storybook concept.1 But between Chris Sampson’s vocal navigations that ring as hyper-tenor and dolphin-like (“The Lavender Fox”)2 as they do sullen and heart-wrenching (“Kingdom of Ice and Light,” “Moonrise”), and Galen Stapley’s mystical fretboard wizardry that marries funk chords, soundtrack melodies, and dance-able shred, Azure packs too much sunshine in their prog for me to ignore. And at almost eighty minutes, they pack a lot of it too. However, each run through Fym’s pages finds a new rumbling bass bounce to propel a hop, a new vocal run to twirl my tongue (with notes that I couldn’t possibly hit), or a synthfully sinful refrain to stain my brain matter with happy juice—”The Azdinist // Den of Dawns” or “Agentic State” unite these ideas best—it’s truly a hard album to put down. Combining just about every era of Genesis with the acrobatics of Dream Theater, the play and ambition of the earliest of Pain of Salvation theatrics, and healthy dose of modern bastardizations (check the autotune/pitchshifting on “Doppelgänger”), Azure has made a mighty statement with Fym that I’m still digesting. And with as many inventive synth patches, harmonic vocal layers, and cinematic builds as this rainbow dose of prog pushes, it’ll be quite some time before I’ve made up my mind about it all. So I’ll continue in pieces. Or all at once. Whatever time allows because Fym is just that much fun.

PreHistoric Animals // Finding Love in Strange Places [May 16th, 2024 – Dutch Music Works]

And here we are with, what’s that, another prog concept album? This one’s a little less terrestrial though, featuring healthy infusions of a futuristic space drama and heavy-hitting synthwave doots and bounces. Over the course of their past couple works, PreHistoric Animals has found an ease in comfortable exploration with their King’s X-like tendency to grip with a barbed verse melody or chorus explosion, layered tastefully with harmonic vocal accompaniment and groove-heavy riffs. But, despite that comparison, it’s clear from the opening synth pulse of “The City of My Dreams” and “Living in a World of Bliss” that an electronic and hooky identity that’s caught between Toto and Yes imbues the edges of refrains that stick like honey to vocalist Stefan Altzar’s easy-on-the-ears narrative. Finding Love in Strange Places can get bogged down a touch in its word-driven nature, though, especially on the various interludes and certain longer tracks like “Unbreakable” and “Nothing Has Changed but Everything Is Different.” None of that fluff ever truly interrupts Finding Love’s heartbeat rhythms, which hold a steady if highly syncopated simplicity and form a hi-hat charming vessel that keeps the head nodding in progressive pomp. Oh, and it helps that guitarists Altzar and Daniel Magdic (ex-Pain of Salvation) have studied the slow-burn solo nature of greats like David Gilmour (Pink Floyd) and Brian May (Queen), with tasteful legato and searing ascensions aiding in earned crescendo at Finding Love’s best moments (“Living in a World of Bliss,” “The Secret of Goodness”). Having reliably churned out confident and catchy works every other years since 2018, PreHistoric Animals fly relatively low in the flock of modern prog, but these space-bound Swedes have earned a likely lifelong aquatic fan at this stage of their growing career. Give Love a chance!

Matrass // Cathedrals [May 17th, 2024 – La Tangente Label]

And, last but not least from my assortment, Matrass hails from France to bring you Cathedrals, which is… yes, you guessed it, another prog concept album! If you’re worried about another album of the synthtastic and 80s prog-themed variety, though, don’t fret about what Matrass brings to the table. Playing closer to post than progressive waters, Cathedrals flitters about dreamy, lounge jazz guitar passages before crushing down with Cult of Luna riffs and Tesseract-inspired, low-end atmospherics. But most important to the groove and cinematic lilt that defines Cathedrals is the methods by which vocalist Clémentine Browne navigates jangling verses with gentle croons and accented, rhythmic spoken word before frying down with screeching and hissing fervor against heavy chord crushes. That talent for establishing and reinforcing mood lands idiosyncratic in the realm of post acts, so her exact methods may not fit the bill for all fans of the rise-and-fall aesthetic the genre offers. And though Matrass remains largely iterative of this mood through its hour-long run, it’s that successful idea of atmosphere that allows peak tracks “Shreds,” “Adrift” (which features Browne on saxophone instead), and “Cathedrals” to conjure such powerful and drifting thoughts in my head. And when you’re in its valleys? Matrass still maintains a textural backdrop that spells high potential for this young act.

Saunders’ Sulfuric Stash

Desolus // System Shock [March 10th, 2024 – Hells Headbangers]

Who’s up for some explosive, throwback thrashy goodness? Although hailing from the States, Desolus take plenty of inspiration from classic German trash titans Kreator, Destruction and Sodom. Throw in classic Dark Angel vibes, a heavy, modern edge and crunchy production job, and the band’s debut System Shock ticks all the boxes for a thrashing great time. This shit is seriously jacked with unhinged, old-school aggression, spitfire riffs and stampeding percussion propelling the album’s ten speed-driven assaults. An utterly deranged, ’80s underground-inspired vocal performance adds further steel-plated authenticity to a retro-minded sound that manages to sound fresh and inspired. Aside from rare moments of slower melodic nuance on the otherwise blistering “Sea of Fire,” and the aptly titled “Interlude” providing a handy breather, Desolus crank speed and intensity to the max, rarely breaking from their relentless stride. The opening one-two salvo of “System Shock” and bonkers lunacy of “From Man to Machine” set a savage tone and gritty platform from which Desolus launch assault after assault of high-octane thrash mania. “Cures of the Technomancer” is an absolute riff beast with groove and speed for days, while “The Invasion Begins” deftly puts you in a false sense of bouncy melodic security before jamming the afterburners into a typically ferocious attack. Exuberant, nasty stuff.

Terminal Nation // Echoes of the Devil’s Den [May 3rd, 2024 – 20 Buck Spin]

The second album from Pittsburgh bruisers Terminal Nation hits with sledgehammer force, obliterating any semblance of subtlety in favor of an extra beefy, in-your-face hybrid of death metal and hardcore. Echoes of the Devil’s Den features a searing, politically charged and seriously pissed-off bite. High-profile guest vocal slots seamlessly blend into the vicious attack, including strong turns from Integrity‘s Dwid Hellion (“Release the Serpents”), Killswitch Engage‘s Jesse Leach (“Merchants of Bloodshed”) and Nails frontman Todd Jones. Jones features on “Written by the Victor,” a vicious tune that harnesses thick, neck-wrecking grooves and punishing, doom-laden death grooves. The album’s hardcore influence and political slant may turn off certain listeners, but those who don’t mind some hardcore in their death stew should find plenty to like here. The gritty, muscular exterior features nods to Bolt Thrower and All Shall Perish, while the weighty, mid-paced crush, chunky riffs and breakdowns are balanced by tasteful melodic counterpoints and livelier bursts of speed (“Dying Alive”). Not all works; the provocative, anti-police song “No Reform (New Age Slave Patrol)” musically has its moments; however, the heavy-handed lyrical approach sticks out like a sore thumb. Nevertheless, Echoes of the Devil’s Den swings and slugs you more often than it misses.

Steel Druhm’s Sewer Tarts

The Troops of Doom // A Mass to the Grotesque [May 31, 2024 – Alma Mater Records]

For their sophomore outing, Brazilian death-thrashers The Troops of Doom took their vintage Sepultura-esque sound and juiced it up considerably from what we heard on 2022s Antichrist Reborn. A Mass to the Grotesque still sounds a bunch like classic Sepultura but it’s much more refined, developed and expanded in scope. Yet it’s still a frenzied, thrashing assault full of lyrics about evil, demons, and all things anti-Christian. It sounds like something that should have dropped in as the 80s thrash wave started mutating into proto-death, and that is a beloved era of music for yours Steely. Songs like “Chapels of the Unholy” and “Dawn of Mephisto” sit right on the bleeding edge of thrash and early death, with Slayer-tastic riffs colliding with early examples of death grooves. What makes this so entertaining is how the band reaches outside of the Sepultura homage bubble to drag in new elements to expand their sound. Some songs feel slightly progressive (“Denied Divinity”) while elsewhere they shoehorn epic doom into the massive “Psalm 7:8 – God of Bizarre.” The straight-up riffbeasts are my favorites though, with “The Imposter King” being a big, fat, sweaty highlight. While these cats are always going to get compared to classic Sepultura, they made real efforts here to stake out their own identity. This is a wild, testosterone-fueled ride featuring the maximum allowable Satan, and I support that.

#20BuckSpin #2024 #AMassToTheGrotesque #Aborted #AllShallPerish #AlmaMaterRecords #Almyrkvi #AmericanMetal #ArmageddonPatronage #Aseitas #Azure #BelgianMetal #BlackMetal #BlackenedDeathMetal #BoltThrower #Capstan #Cathedrals #CHON #CobraTheImpaler #CultOfLuna #DanishMetal #DarkAngel #DarkDescentRecords #DeathMetal #Desolus #Destruction #DissonantDeathMetal #DreamTheater #DutchMusicWorks #EchoesOfTheDevilSDen #EdenTrough #FearlessRecords #FindingLoveInStrangePlaces #FrenchMetal #Fym #Genesis #GermanMetal #Gojira #Haken #Hardcore #HellsHeadbangers #Integrity #InternationalMetal #KarmaCollision #KillswitchEngage #KingsX #Kreator #LaTangenteLabel #ListenableRecords #Manetherean #Mastodon #Matrass #May24 #MelodicBlackMetal #Merihem #Nails #PainOfSalvation #Parfaxitas #PinkFloyd #Polyphia #PostHardcore #Powerglove #PreHistoricAnimals #ProgressiveMetal #Punk #Queen #Review #Reviews #Saidan #SelfReleased #Sinmara #Slidhr #Sodom #Strychnos #SufferingHour #SwedishMetal #SystemShock #TechnicalDeathMetal #TechnicalMetal #TerminalNation #TerraturPossessions #TesseracT #TheMosaic #TheTroopsOfDoom #TotalDissonanceWorship #UKMetal #Undergang #USMetal #VisualKillTheBlossomingOfPsychoticDepravity #WeaverOfTheBlackMoon #WhoredomeRife #Wormlust #Yes

Stuck in the Filter: May 2024’s Angry Misses

By Kenstrosity

I thought the onset of summer would mean a total solar beatdown. Instead, it’s brought the rain. Absolutely chucking down rain. But, if you thought that bad weather leads to mercy from me, you’re dead wrong. In fact, I pushed my minions even harder to dredge up as many waterlogged nuggets of notable ore from our perpetually overtaxed filtration system.

And so, as my “staff,” who are definitely paid (don’t look into it) dry off in the industrial-grade wind tunnel, allow me to introduce May’s Filter entries for a public I truly don’t care about at all (don’t look into it). BEHOLD!

Iceberg’s Divisive Defenstrations

Cobra The Impaler // Karma Collision [May 24th, 2024 – Listenable Records]

Belgium’s Cobra The Impaler bill themselves as carrying the torch of classic-era Mastodon, a band hitting so many spectrums of metal comparing one’s music to theirs is a much safer bet than not. Led by primary songwriter and ex-Aborted guitarist Tace DC, the band sit somewhere in the murky grey between progressive and technical modern metal. The aforementioned Mastodon worship is strong here—especially in opener “Magnetic Hex”—although the crystal clean production by Jens Borgren really prevents the use of the term “sludge.” Elsewhere there are prog-metal moments of Virus/Vector-era Haken (“Karma Collision,” “The Fountain”) and some of the relentless, drums-in-front compositions of Gojira (“Karma Collision,” “The Assassins of the Vision”). Vocalist Manuel Remmerie’s also has his work cut out for him, delivering plenty of admirable cleans in both high and low registers alongside full-throated screams and somewhat less effective pitched growls. The instrumental performances here are top-notch, professional in the verse/chorus sections, and continuously—sometimes outstandingly—creative in the free-form bridges. There is some tightening to be done with the accessibility of the choruses—they fall flat against the superior instrumental sections— but there are moments of brilliance and a ton of potential in this five-piece.

Capstan // The Mosaic [May 24th, 2024 – Fearless Records]

Anyone who’s plugged into the post-hardcore scene should know that Florida’s Capstan transcend the—rightfully deserved—vitriol thrown at the style. I don’t think any Fearless band has ever been reviewed here, but Capstan’s latest opus The Mosaic deserves a shoutout to whomever hasn’t run screaming from these halls. Led by vocalist Anthony DeMario—sure to be a divisive figure with his unapologetic pop punk cleans—the band has continuously augmented their Warped-core sound with the mathy guitar noodlings of Chon or Polyphia, and an impressive triple vocalist attack for thick, elaborate harmonies. This album, clocking in at over an hour, doesn’t pull any punches, showcasing trip-hop, breakdown-laced numbers (“Bete Noire”), full throated anthems about self-loathing and heartbreak (“Misery Scene”) and even lighter, crooning ballads (“What Can I Say”). Synergy and professionalism are where the band shine; everything has is slickly produced and the performances—especially those vocals—are whip-smart. Plenty of editing could have been done, but you can tell how much fun the band is having. Anyone with a passing interest or nostalgia for 2000’s post-hardcore should check this out. Plus their drummer plays with traditional grip, and watching a jazz guy slam out breakdowns is pretty rad in my book.

GardensTale’s Dose of Decay

Strychnos // Armageddon Patronage [May 17th, 2024 – Dark Descent Records]

I don’t always check out albums that set the comment section and/or Discord abuzz, but when I do, it rarely results in anything less than interesting. Case in point, the bottomless evil of Strychnos, a Danish outfit that struggled to get off the ground in the early 00’s, eked out a single EP in the 10’s, and suddenly started shitting out heaving platters of malicious black/death since the pandemic. Armageddon Patronage is the second full-length off their new production line, and it brings every horseman along for its deadly ride. War is embodied by the lethal double feature that starts the charge, with swelling riffs battering the unjust to fertilizer. The unflinching and unfeeling brutality of Famine seethes from “Choking Salvation,” and out the beaks of “Pale Black Birds” pours Pestilence with slavering enthusiasm. Frontman Martin Leth Anderson, who also handles bass for Undergang, employs a bellowing growl that encapsulates hopelessness and suffering, and the excellent, malevolent riffs usher an effective aura of utter destruction. Death, however, comes not at the end, but during the doom-laden centerpiece, the despondent “Endless Void Dimension” with its atmospheric Gregorian chanting. I have no qualms becoming a patron to this spiteful chunk of armageddon.

Dear Hollow’s Shtanky Shwamp of Shrieks

Saidan // Visual Kill: The Blossoming of Psychotic Depravity [May 24th, 2024 – Self-Released]

Saidan do things a little differently. The Nashville duo’s themes rooted in Japanese folklore and the formidable and mysterious yokai in particular, combined with a relentlessly riffy and punk-driven tour-de-force of black metal proportions are always food for thought in the act’s brief and formidable history. Seamlessly transitioning between punk chord progressions and bouncy drums to blastbeats and kvlt tremolo to groovy riffs and rhythms, anchored by Splatterpvnk’s ripping vocals, it never shies away from punishment. However, interwoven with this assault is a distinctly melodic undercurrent that brightens the progressions and gives purpose and a sense of fun – a hyper-melodic black metal act would be jealous. You won’t be able to shake the grooves of “Desecration of a Lustful Illusion,” the symphonic black intensity of “Genocidal Bloodfiend” and “Veins of the Wicked” hit you like a cyclone, and the classic thrash solos and anime-theme-song vibe of “Sick Abducted Purity,” “Visual Kill,” and “Switchblade Paradise” are guaranteed to get your head banging – plus, the interlude “seraphic lullaby” and instrumental closer “suffer” ain’t half bad. Visual Kill is like if Powerglove wrote a black metal album that you could actually take seriously, backed up with the technicality, songwriting chops, and sheer unbridled energy to make it work.

Parfaxitas // Weaver of the Black Moon [May 31st, 2024 – Terratur Possessions]

The minds behind Parfaxitas should need little introduction, although the moniker will likely not ring any bells. Representing three separate scenes and their respective contributions to black metal lore, two American stringsmen from acts Merihem, Suffering Hour, and Manetherean, Icelandic drummer B.E. from Almyrkvi, Sinmara, Slidhr, and Wormlust, and Norwegian vocalist K.R. From Whoredom Rife collide. Weaver of the Black Moon combines the blueprint of second-wave Norwegian black with the obsidian dissonance of Icelandic, and the experimental edge of American acts, making it a tour-de-force of both vicious sound and tortured atmosphere. Dissonance rains down like acid, a backdrop, and shroud of otherworldly sounds that shimmer and crunch in ways that recall both the winding passages of Suffering Hour and the psychedelic rawness of Wormlust simultaneously. Hammered by vicious blastbeats and guided by tortured barks, the guitar and meandering fluid bass guide listeners from untouchable intensity (“Thou Shalt Worship No Other”) to haunting and hypnotic atmosphere (“Ravens of Dispersion”) – stealing the show. Parfaxitas features a whole lot of firepower, culminating in epic closer “Fields of Nightmares,” a crescendo of punishing and otherworldly proportions.

Aseitas // Eden Trough [May 30th, 2024 – Total Dissonance Worship]

After Aseitas’ formidable 2020 album False Peace, which narrowly missed my AOTY’s, the Portland trio is back with another album – which could easily be classified as an EP in its tidy thirty-minute runtime. Eden Trough condenses the lofty and decadent ambition of its predecessor for an album devoted to complete takedown in winding riffs, punishing death metal, and ravaging vocals. From the thick and punishing signature shifts of “Libertine Captor” and “Alabaster Bones,” complete with shifting riffs and a liminal sense of melody, to the more droning and haunting “Break the Neck of Every Beautiful Thing,” to the epic and cosmic psychedelia of ten-minute centerpiece “Tiamat,” Aseitas’ shows its tantalizing and gradual progression to an echelon of indispensable in the world of dissonant death. Offering influences of convulsive mathcore, mammoth post-metal, and unhinged yet intensely calculated technicality, Eden Trough is a must-listen for the long-time fan, as well as proffering a snapshot to the curious of what makes Aseitas so special to begin with.

Dolphin Whisperer’s Progalicious Ponderings

Azure // Fym [May 23rd, 2024 – Self Release]

Are you way into high fantasy and exuberant, progressive albums that reflect that sentiment? If so, look no further than Azure’s third opus, Fym, which over its runtime recounts the tales of a mystical fox’s journey in a frightening and whimsical world. Normally I wouldn’t think twice about an album with such a storybook concept.1 But between Chris Sampson’s vocal navigations that ring as hyper-tenor and dolphin-like (“The Lavender Fox”)2 as they do sullen and heart-wrenching (“Kingdom of Ice and Light,” “Moonrise”), and Galen Stapley’s mystical fretboard wizardry that marries funk chords, soundtrack melodies, and dance-able shred, Azure packs too much sunshine in their prog for me to ignore. And at almost eighty minutes, they pack a lot of it too. However, each run through Fym’s pages finds a new rumbling bass bounce to propel a hop, a new vocal run to twirl my tongue (with notes that I couldn’t possibly hit), or a synthfully sinful refrain to stain my brain matter with happy juice—”The Azdinist // Den of Dawns” or “Agentic State” unite these ideas best—it’s truly a hard album to put down. Combining just about every era of Genesis with the acrobatics of Dream Theater, the play and ambition of the earliest of Pain of Salvation theatrics, and healthy dose of modern bastardizations (check the autotune/pitchshifting on “Doppelgänger”), Azure has made a mighty statement with Fym that I’m still digesting. And with as many inventive synth patches, harmonic vocal layers, and cinematic builds as this rainbow dose of prog pushes, it’ll be quite some time before I’ve made up my mind about it all. So I’ll continue in pieces. Or all at once. Whatever time allows because Fym is just that much fun.

PreHistoric Animals // Finding Love in Strange Places [May 16th, 2024 – Dutch Music Works]

And here we are with, what’s that, another prog concept album? This one’s a little less terrestrial though, featuring healthy infusions of a futuristic space drama and heavy-hitting synthwave doots and bounces. Over the course of their past couple works, PreHistoric Animals has found an ease in comfortable exploration with their King’s X-like tendency to grip with a barbed verse melody or chorus explosion, layered tastefully with harmonic vocal accompaniment and groove-heavy riffs. But, despite that comparison, it’s clear from the opening synth pulse of “The City of My Dreams” and “Living in a World of Bliss” that an electronic and hooky identity that’s caught between Toto and Yes imbues the edges of refrains that stick like honey to vocalist Stefan Altzar’s easy-on-the-ears narrative. Finding Love in Strange Places can get bogged down a touch in its word-driven nature, though, especially on the various interludes and certain longer tracks like “Unbreakable” and “Nothing Has Changed but Everything Is Different.” None of that fluff ever truly interrupts Finding Love’s heartbeat rhythms, which hold a steady if highly syncopated simplicity and form a hi-hat charming vessel that keeps the head nodding in progressive pomp. Oh, and it helps that guitarists Altzar and Daniel Magdic (ex-Pain of Salvation) have studied the slow-burn solo nature of greats like David Gilmour (Pink Floyd) and Brian May (Queen), with tasteful legato and searing ascensions aiding in earned crescendo at Finding Love’s best moments (“Living in a World of Bliss,” “The Secret of Goodness”). Having reliably churned out confident and catchy works every other years since 2018, PreHistoric Animals fly relatively low in the flock of modern prog, but these space-bound Swedes have earned a likely lifelong aquatic fan at this stage of their growing career. Give Love a chance!

Matrass // Cathedrals [May 17th, 2024 – La Tangente Label]

And, last but not least from my assortment, Matrass hails from France to bring you Cathedrals, which is… yes, you guessed it, another prog concept album! If you’re worried about another album of the synthtastic and 80s prog-themed variety, though, don’t fret about what Matrass brings to the table. Playing closer to post than progressive waters, Cathedrals flitters about dreamy, lounge jazz guitar passages before crushing down with Cult of Luna riffs and Tesseract-inspired, low-end atmospherics. But most important to the groove and cinematic lilt that defines Cathedrals is the methods by which vocalist Clémentine Browne navigates jangling verses with gentle croons and accented, rhythmic spoken word before frying down with screeching and hissing fervor against heavy chord crushes. That talent for establishing and reinforcing mood lands idiosyncratic in the realm of post acts, so her exact methods may not fit the bill for all fans of the rise-and-fall aesthetic the genre offers. And though Matrass remains largely iterative of this mood through its hour-long run, it’s that successful idea of atmosphere that allows peak tracks “Shreds,” “Adrift” (which features Browne on saxophone instead), and “Cathedrals” to conjure such powerful and drifting thoughts in my head. And when you’re in its valleys? Matrass still maintains a textural backdrop that spells high potential for this young act.

Saunders’ Sulfuric Stash

Desolus // System Shock [March 10th, 2024 – Hells Headbangers]

Who’s up for some explosive, throwback thrashy goodness? Although hailing from the States, Desolus take plenty of inspiration from classic German trash titans Kreator, Destruction and Sodom. Throw in classic Dark Angel vibes, a heavy, modern edge and crunchy production job, and the band’s debut System Shock ticks all the boxes for a thrashing great time. This shit is seriously jacked with unhinged, old-school aggression, spitfire riffs and stampeding percussion propelling the album’s ten speed-driven assaults. An utterly deranged, ’80s underground-inspired vocal performance adds further steel-plated authenticity to a retro-minded sound that manages to sound fresh and inspired. Aside from rare moments of slower melodic nuance on the otherwise blistering “Sea of Fire,” and the aptly titled “Interlude” providing a handy breather, Desolus crank speed and intensity to the max, rarely breaking from their relentless stride. The opening one-two salvo of “System Shock” and bonkers lunacy of “From Man to Machine” set a savage tone and gritty platform from which Desolus launch assault after assault of high-octane thrash mania. “Cures of the Technomancer” is an absolute riff beast with groove and speed for days, while “The Invasion Begins” deftly puts you in a false sense of bouncy melodic security before jamming the afterburners into a typically ferocious attack. Exuberant, nasty stuff.

Terminal Nation // Echoes of the Devil’s Den [May 3rd, 2024 – 20 Buck Spin]

The second album from Pittsburgh bruisers Terminal Nation hits with sledgehammer force, obliterating any semblance of subtlety in favor of an extra beefy, in-your-face hybrid of death metal and hardcore. Echoes of the Devil’s Den features a searing, politically charged and seriously pissed-off bite. High-profile guest vocal slots seamlessly blend into the vicious attack, including strong turns from Integrity‘s Dwid Hellion (“Release the Serpents”), Killswitch Engage‘s Jesse Leach (“Merchants of Bloodshed”) and Nails frontman Todd Jones. Jones features on “Written by the Victor,” a vicious tune that harnesses thick, neck-wrecking grooves and punishing, doom-laden death grooves. The album’s hardcore influence and political slant may turn off certain listeners, but those who don’t mind some hardcore in their death stew should find plenty to like here. The gritty, muscular exterior features nods to Bolt Thrower and All Shall Perish, while the weighty, mid-paced crush, chunky riffs and breakdowns are balanced by tasteful melodic counterpoints and livelier bursts of speed (“Dying Alive”). Not all works; the provocative, anti-police song “No Reform (New Age Slave Patrol)” musically has its moments; however, the heavy-handed lyrical approach sticks out like a sore thumb. Nevertheless, Echoes of the Devil’s Den swings and slugs you more often than it misses.

Steel Druhm’s Sewer Tarts

The Troops of Doom // A Mass to the Grotesque [May 31, 2024 – Alma Mater Records]

For their sophomore outing, Brazilian death-thrashers The Troops of Doom took their vintage Sepultura-esque sound and juiced it up considerably from what we heard on 2022s Antichrist Reborn. A Mass to the Grotesque still sounds a bunch like classic Sepultura but it’s much more refined, developed and expanded in scope. Yet it’s still a frenzied, thrashing assault full of lyrics about evil, demons, and all things anti-Christian. It sounds like something that should have dropped in as the 80s thrash wave started mutating into proto-death, and that is a beloved era of music for yours Steely. Songs like “Chapels of the Unholy” and “Dawn of Mephisto” sit right on the bleeding edge of thrash and early death, with Slayer-tastic riffs colliding with early examples of death grooves. What makes this so entertaining is how the band reaches outside of the Sepultura homage bubble to drag in new elements to expand their sound. Some songs feel slightly progressive (“Denied Divinity”) while elsewhere they shoehorn epic doom into the massive “Psalm 7:8 – God of Bizarre.” The straight-up riffbeasts are my favorites though, with “The Imposter King” being a big, fat, sweaty highlight. While these cats are always going to get compared to classic Sepultura, they made real efforts here to stake out their own identity. This is a wild, testosterone-fueled ride featuring the maximum allowable Satan, and I support that.

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