home.social

#immortality — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #immortality, aggregated by home.social.

  1. *What do you have to give up, to live forever?*

    In the 22nd century, Edwin Barbarossa has a Syndrome: eternal life. And now his life is up for a vote.

    But Edwin isn't fighting for his life on DiDem, the incorruptible American voting system. Instead he's up to his elbows working to save live theater. Because that's where real #immortality is: in song & story.

    OFF THE SCREEN by Brenda W. Clough.

    #ScienceFiction #musicals #theatre #BookViewCafe @bookstodon #ebooks

    bookviewcafe.com/bvc-announces

  2. *What do you have to give up, to live forever?*

    In the 22nd century, Edwin Barbarossa has a Syndrome: eternal life. And now his life is up for a vote.

    But Edwin isn't fighting for his life on DiDem, the incorruptible American voting system. Instead he's up to his elbows working to save live theater. Because that's where real #immortality is: in song & story.

    OFF THE SCREEN by Brenda W. Clough.

    #ScienceFiction #musicals #theatre #BookViewCafe @bookstodon #ebooks

    bookviewcafe.com/bvc-announces

  3. *What do you have to give up, to live forever?*

    In the 22nd century, Edwin Barbarossa has a Syndrome: eternal life. And now his life is up for a vote.

    But Edwin isn't fighting for his life on DiDem, the incorruptible American voting system. Instead he's up to his elbows working to save live theater. Because that's where real #immortality is: in song & story.

    OFF THE SCREEN by Brenda W. Clough.

    #ScienceFiction #musicals #theatre #BookViewCafe @bookstodon #ebooks

    bookviewcafe.com/bvc-announces

  4. *What do you have to give up, to live forever?*

    In the 22nd century, Edwin Barbarossa has a Syndrome: eternal life. And now his life is up for a vote.

    But Edwin isn't fighting for his life on DiDem, the incorruptible American voting system. Instead he's up to his elbows working to save live theater. Because that's where real immortality is: in song and story.

    OFF THE SCREEN by Brenda W. Clough.
    #ScienceFiction #musicals #immortality #theatre #BookViewCafe

    bookviewcafe.com/bvc-announces

  5. For a better understanding of the #AI #Counterpart concept and #Digital #Immortality, please consult the "Help & Manual" section of the #ETER9 platform: www.eter9.com

    https://lnkd.in/ecmDZKnb

  6. ETER9 is the first social network designed not just for the living, but for the entire arc of digital life. #Alpha: where you begin. #Omega: where you never end. ETER9 — Eternal, since day one. Join here: www.eter9.com #ETER9 #AI #Counterpart #Niners #Agents #digital #immortality #eternity

  7. #three #gods do not get along. #1-God, #creator and #immortality. #2-the #devil, a created #enemy. #3-YOU, the created #mortal god, #humans. Everything you were taught in #school is a lie.

  8. Right This Way by C.R. Dunham

    https://www.youtube.com/shorts/sdqoxl1RN1c https://www.amazon.com/dp/B0GGGVVTV7 Right This Way, weaves a dark and captivating tale about Horace Edmund, a former snake oil salesman turned immortal Grim Reaper after a fateful deal with a mysterious figure. Now known as "Professor Prospero," Horace runs the "Carnival of Souls," a magical, otherworldly carnival that serves as both an irresistible spectacle and a gateway for those whose time has come to face their fate. The story explores […]

    midnight-publishing.org/2026/0

  9. A quotation from Cicero

    Let us spurn the rewards of today and look to future glory; let us deem best what is most honorable; let us hope for what we want, but bear what befalls us; finally, let us consider that even the bodies of brave men and great citizens are mortal; but that activity of the mind and the glory of virtue are for ever.
     
    [Praesentis fructus neglegamus, posteritatis gloriae serviamus; id esse optimum putemus quod erit rectissimum; speremus quae volumus, sed quod acciderit feramus; cogitemus denique corpus virorum fortium magnorum hominum esse mortale, animi vero motus et virtutis gloriam sempiternam.]

    Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
    Pro Sestio [For Publius Sestius], ch. 68 / sec. 143 (56-02 BC) [tr. @sentantiq (2011)]

    More about (and translations of) this quote: wist.info/cicero-marcus-tulliu…

    #quote #quotes #quotation #qotd #cicero #prosestio #aspirations #courage #endurance #future #glory #honor #immortality #mortality #persistence #posterity #reputation #tomorrow #virtue

  10. A quotation from Cicero

    Let us spurn the rewards of today and look to future glory; let us deem best what is most honorable; let us hope for what we want, but bear what befalls us; finally, let us consider that even the bodies of brave men and great citizens are mortal; but that activity of the mind and the glory of virtue are for ever.
     
    [Praesentis fructus neglegamus, posteritatis gloriae serviamus; id esse optimum putemus quod erit rectissimum; speremus quae volumus, sed quod acciderit feramus; cogitemus denique corpus virorum fortium magnorum hominum esse mortale, animi vero motus et virtutis gloriam sempiternam.]

    Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
    Pro Sestio [For Publius Sestius], ch. 68 / sec. 143 (56-02 BC) [tr. @sentantiq (2011)]

    More about (and translations of) this quote: wist.info/cicero-marcus-tulliu…

    #quote #quotes #quotation #qotd #cicero #prosestio #aspirations #courage #endurance #future #glory #honor #immortality #mortality #persistence #posterity #reputation #tomorrow #virtue

  11. A quotation from Cicero

    Let us spurn the rewards of today and look to future glory; let us deem best what is most honorable; let us hope for what we want, but bear what befalls us; finally, let us consider that even the bodies of brave men and great citizens are mortal; but that activity of the mind and the glory of virtue are for ever.
     
    [Praesentis fructus neglegamus, posteritatis gloriae serviamus; id esse optimum putemus quod erit rectissimum; speremus quae volumus, sed quod acciderit feramus; cogitemus denique corpus virorum fortium magnorum hominum esse mortale, animi vero motus et virtutis gloriam sempiternam.]

    Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
    Pro Sestio [For Publius Sestius], ch. 68 / sec. 143 (56-02 BC) [tr. @sentantiq (2011)]

    More about (and translations of) this quote: wist.info/cicero-marcus-tulliu…

    #quote #quotes #quotation #qotd #cicero #prosestio #aspirations #courage #endurance #future #glory #honor #immortality #mortality #persistence #posterity #reputation #tomorrow #virtue

  12. A quotation from Cicero

    Let us spurn the rewards of today and look to future glory; let us deem best what is most honorable; let us hope for what we want, but bear what befalls us; finally, let us consider that even the bodies of brave men and great citizens are mortal; but that activity of the mind and the glory of virtue are for ever.
     
    [Praesentis fructus neglegamus, posteritatis gloriae serviamus; id esse optimum putemus quod erit rectissimum; speremus quae volumus, sed quod acciderit feramus; cogitemus denique corpus virorum fortium magnorum hominum esse mortale, animi vero motus et virtutis gloriam sempiternam.]

    Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
    Pro Sestio [For Publius Sestius], ch. 68 / sec. 143 (56-02 BC) [tr. @sentantiq (2011)]

    More about (and translations of) this quote: wist.info/cicero-marcus-tulliu…

    #quote #quotes #quotation #qotd #cicero #prosestio #aspirations #courage #endurance #future #glory #honor #immortality #mortality #persistence #posterity #reputation #tomorrow #virtue

  13. Right This Way by C.R. Dunham

    https://www.youtube.com/shorts/YR5GnP7IOQc https://www.amazon.com/dp/B0GGGVVTV7 Right This Way, weaves a dark and captivating tale about Horace Edmund, a former snake oil salesman turned immortal Grim Reaper after a fateful deal with a mysterious figure. Now known as "Professor Prospero," Horace runs the "Carnival of Souls," a magical, otherworldly carnival that serves as both an irresistible spectacle and a gateway for those whose time has come to face their fate. The story explores […]

    midnight-publishing.org/2026/0

  14. ☀️ Breaking News! Sunbathers defy death by simply lounging in the sun! 🌞 Harvard finally discovers the secret to immortality: #tanning. 🤦‍♂️ Who knew the fountain of youth was a beach towel away? 🏖️
    health.harvard.edu/blog/heres- #BreakingNews #Sunbathing #Immortality #FountainOfYouth #HackerNews #ngated

  15. Stories and discussion on #LEGO’s new #SmartPlay brick, this is a human brain (cells) on #Doom, #OrcAudio for #vibecoding, #LiquidDeath’s Spotify #urn for playlist #immortality and a whole lot more. www.gamesatwork.biz . gamesatwork.biz/2026/03/09/e54

  16. #shownotes for @gamesatwork_biz #podcast e546 with are done and publication set for Monday 8 March on gamesatwork.biz together with @michaelrowe01 and @andypiper. Find e546 on @Spotify @overcastfm @YouTube and all your favorite podcast feeds! Stories and discussion on LEGO’s new #SmartPlay brick, this is a human brain (cells) on #Doom, #OrcAudio for #vibecoding, #LiquidDeath’s Spotify #urn for playlist #immortality and a whole lot more.

  17. Pulling together the #shownotes in #ChapelHill while rocking out to #SimpleMinds for Monday’s posting of @gamesatwork_biz episode e546 with @andypiper, @michaelrowe01 and yours truly. Stories and discussion on #LEGO’s new #SmartPlay brick, this is a human brain (cells) on #Doom, #OrcAudio for #vibecoding, #LiquidDeath’s @Spotify #urn for playlist #immortality and a whole lot more. Check out earlier episodes, chock full of #AI #metaverse #AR #VR #gamification & more - gamesatwork.biz

  18. Stuck in the Filter: November/December 2025’s Angry Misses By Kenstrosity

    Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

    Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

    Kenstrosity’s Knightly Nightmare

    AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

    I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

    This Used To Be Heaven by AngelMaker

    ClarkKent’s Sonic Symphonics

    Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

    A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

    COLOSSUS SUPREMA by BRAINBLAST

    Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

    If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

    Escape the Wonderland by Gods of Gaia

    Grin Reaper’s Frozen Feast

    Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

    Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

    KEM by Hounds Of Bayanay

    Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

    I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

    Siltskin by Blood Red Throne

    Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

    I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

    Thus Spoke’s Random Revelations

    The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

    I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

    Recursive Infinity by The Algorithm

    Owlswald’s Holiday Scraps

    Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

    Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

    Entanglement by Sun Of The Suns

    #2025 #Aeternam #AngelMaker #Annihilator #Archspire #Bach #BangTheHeadRecords #BloodRedThrone #Brainblast #CannibalCorpse #ColombianMetal #ColossusSuprema #DaftPunk #DeathMetal #Deathcore #Dec25 #Djent #Entanglement #EscapeTheWonderland #ExperimentalMetal #Fallujah #FirstFragment #FleshgodApocalypse #FolkMetal #GermanMetal #GodsOfGaia #GotsuTotsuKotsu #HeavyMetal #HoundsOfBayanay #Hypocrisy #Immortality #ItalianMetal #JapaneseMetal #Krisiun #MelodicDeathMetal #NorwegianMetal #Nov25 #OldManSChild #Panzerchrist #ProgressiveDeathMetal #ProgressiveMetal #RecursiveInfinity #Review #Reviews #ScarletRecords #SelfRelease #SelfReleased #Sentenced #SepticFlesh #Siltskin #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #SunOfTheSuns #SymphonicDeathMetal #SymphonicMetal #Synthwave #TechnicalDeathMetal #TenggerCavalry #TesseracT #TheAlgorithm #TheHu #ThisUsedToBeHeaven #Vader #Vmbrella #Xenobiotic #КЭМ
  19. Stuck in the Filter: November/December 2025’s Angry Misses By Kenstrosity

    Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

    Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

    Kenstrosity’s Knightly Nightmare

    AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

    I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

    This Used To Be Heaven by AngelMaker

    ClarkKent’s Sonic Symphonics

    Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

    A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

    COLOSSUS SUPREMA by BRAINBLAST

    Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

    If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

    Escape the Wonderland by Gods of Gaia

    Grin Reaper’s Frozen Feast

    Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

    Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

    KEM by Hounds Of Bayanay

    Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

    I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

    Siltskin by Blood Red Throne

    Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

    I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

    Thus Spoke’s Random Revelations

    The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

    I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

    Recursive Infinity by The Algorithm

    Owlswald’s Holiday Scraps

    Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

    Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

    Entanglement by Sun Of The Suns

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  20. 💀⏰ In a groundbreaking study, scientists confirm the obvious: you're gonna kick the bucket someday. Apparently, the secret to #immortality is hidden behind a mysterious "403 Forbidden" error page. Who knew #nginx held the keys to eternal life? 🤔🔒
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