#inflames — Public Fediverse posts

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Ashen Horde – The Harvest Review

Leading …
#NewsBeep #News #Music #2026 #3.0 #AmericanMetal #AshenHorde #BlackMetal #Chestcrush #coroner #DeathMetal #Enslaved #Entertainment #Equipoise #Ihsahn #InFlames #Inferi #KillswitchEngage #May26 #MelodicDeathMetal #NightWraith #Opeth #progressiveblackmetal #ProgressiveMetal #Putrefier #review #Reviews #SelfRelease #Self-Releases #species #TheBlackDahliaMurder #TheHarvest #ThrashMetal #Trivium #UK #UnitedKingdom #Voivod
https://www.newsbeep.com/uk/559175/

Leading up to the release of The Harvest, Ashen Horde finds themselves pushing against the boundaries of the identity they’ve honed since forming in 2013. Conceived by Los Angeles-based Trevor Portz, the sole contributor through the band’s first two albums,1 Ashen Horde stands as a studio-only project, blurring the lines between black and death metal with progressive tendencies while telling unified stories through each album’s runtime. On third album Fallen Cathedrals, Ashen Horde enlisted the talents of powerhouse vocalist Stevie Boiser (Inferi, Equipoise) to tremendous effect. Portz and Boiser delivered another gem on follow-up Antimony, joined by drummer Robin Stone (Chestcrush) and bassist Igor Panasewicz (NightWraith). On fifth album The Harvest: newcomer Karl Chamberlain (Putrefier) replaces Boiser and leans heavily into melodic cleans, Panasewicz exits the fold, the narrative element has been replaced with a looser theme,2 and Ashen Horde begins rehearsals for their first-ever live performances later this year. Do all these changes result in an effective crop rotation, keeping The Harvest’s yield fresh and rich, or do the white-hot flames of slash-and-burn songwriting blaze too brightly, leaving only a bumper crop of ash?

Where Boiser’s vocals amplified Ashen Horde’s ferocity within the confines of black and death metal, Chamberlain’s stylings push the band’s sound into a more melodic arena. Clean vocals sparsely populated Ashen Horde’s Boiser era, but The Harvest sees them co-headline, prominently featuring Chamberlain’s versatile melodic phrasing. Prior releases’ touchstones Opeth and Enslaved continue to be relevant, yet the emphasis on cleans skews heavily towards Trivium and, to a lesser extent, Killswitch Engage.3 The shift is broader than the vocals, though, as the instrumentation diversifies as well. Frantic trems and knotty compositions previously grounded Ashen Horde’s sound in progressive black metal akin to Ihsahn, but The Harvest evolves to bring a distinctly Voivoidian essence to the guitar work (the riffing after the solo on “Backward Momentum” is classic Piggy). Performance-wise, Ashen Horde delivers first-rate moments that ground returning listeners in a familiar setting, with Portz laying down his usual impressive stringed attack and Stone supplying nuanced exhibitions throughout. In total, these changes evince a band at a crossroads, uncontent to rest on its laurels while a new outlook is forged.

The maturation of Ashen Horde’s sound amounts to more than an inflated list of references, though. For starters, the underlying genres require reevaluation. Fallen Cathedrals and Antimony classify as black metal, death metal, and progressive metal, yet The Harvest adds a healthy dose of melodic death metal and a dash of thrash. Specifically, “Remnant” evokes a slightly proggier take on 90s In Flames while “Apparition” recalls a less rabid The Black Dahlia Murder. Besides Voivod, The Harvest taps into thrash via the jazzy grooves heard on Species’ latest (“Entropy and Ecstasy”) and the whirring, dissonant refrains endemic to Coroner (“Autumnal,” “A Place in the Rot”). With so many moving pieces, it’s a wonder that Ashen Horde retains as much of their core identity as they do.

Given the dramatic musical pivot, The Harvest feels like a snapshot of a band mid-flight rather than one reaching their final destination. With Ashen Horde stacking so many elements on top of one another, I’m not sure how well they gel into a unified album. The vocals in particular give me the biggest pause—not because of Chamberlain’s performance, which is potent across harsh and clean deliveries. I’m just not convinced how well they work in concert, given the even split between them. On previous albums, cleans were sparingly used as accents, but their expanded involvement on The Harvest conjures disparate moods that flit back and forth in a way that occasionally feels jarring (“Autumnal”). The end result is a compromise that lands between the familiar and the bold.

Despite Ashen Horde exploring a new identity on The Harvest, plenty of earwatering fruit awaits a good reaping. As the band calls out in their promo materials, even though the central theme is about endings, The Harvest is a new beginning. I expect opinions will be split on the new direction, but Ashen Horde is a project that teems with ideas and new frontiers, and I’ll take that every time over a band that’s content to remake the same album over and over. Now go check out this week’s Harvest and sample its tasty Ashen Hordeuvres.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

Leading up to the release of The Harvest, Ashen Horde finds themselves pushing against the boundaries of the identity they’ve honed since forming in 2013. Conceived by Los Angeles-based Trevor Portz, the sole contributor through the band’s first two albums,1 Ashen Horde stands as a studio-only project, blurring the lines between black and death metal with progressive tendencies while telling unified stories through each album’s runtime. On third album Fallen Cathedrals, Ashen Horde enlisted the talents of powerhouse vocalist Stevie Boiser (Inferi, Equipoise) to tremendous effect. Portz and Boiser delivered another gem on follow-up Antimony, joined by drummer Robin Stone (Chestcrush) and bassist Igor Panasewicz (NightWraith). On fifth album The Harvest: newcomer Karl Chamberlain (Putrefier) replaces Boiser and leans heavily into melodic cleans, Panasewicz exits the fold, the narrative element has been replaced with a looser theme,2 and Ashen Horde begins rehearsals for their first-ever live performances later this year. Do all these changes result in an effective crop rotation, keeping The Harvest’s yield fresh and rich, or do the white-hot flames of slash-and-burn songwriting blaze too brightly, leaving only a bumper crop of ash?

Where Boiser’s vocals amplified Ashen Horde’s ferocity within the confines of black and death metal, Chamberlain’s stylings push the band’s sound into a more melodic arena. Clean vocals sparsely populated Ashen Horde’s Boiser era, but The Harvest sees them co-headline, prominently featuring Chamberlain’s versatile melodic phrasing. Prior releases’ touchstones Opeth and Enslaved continue to be relevant, yet the emphasis on cleans skews heavily towards Trivium and, to a lesser extent, Killswitch Engage.3 The shift is broader than the vocals, though, as the instrumentation diversifies as well. Frantic trems and knotty compositions previously grounded Ashen Horde’s sound in progressive black metal akin to Ihsahn, but The Harvest evolves to bring a distinctly Voivoidian essence to the guitar work (the riffing after the solo on “Backward Momentum” is classic Piggy). Performance-wise, Ashen Horde delivers first-rate moments that ground returning listeners in a familiar setting, with Portz laying down his usual impressive stringed attack and Stone supplying nuanced exhibitions throughout. In total, these changes evince a band at a crossroads, uncontent to rest on its laurels while a new outlook is forged.

The maturation of Ashen Horde’s sound amounts to more than an inflated list of references, though. For starters, the underlying genres require reevaluation. Fallen Cathedrals and Antimony classify as black metal, death metal, and progressive metal, yet The Harvest adds a healthy dose of melodic death metal and a dash of thrash. Specifically, “Remnant” evokes a slightly proggier take on 90s In Flames while “Apparition” recalls a less rabid The Black Dahlia Murder. Besides Voivod, The Harvest taps into thrash via the jazzy grooves heard on Species’ latest (“Entropy and Ecstasy”) and the whirring, dissonant refrains endemic to Coroner (“Autumnal,” “A Place in the Rot”). With so many moving pieces, it’s a wonder that Ashen Horde retains as much of their core identity as they do.

Given the dramatic musical pivot, The Harvest feels like a snapshot of a band mid-flight rather than one reaching their final destination. With Ashen Horde stacking so many elements on top of one another, I’m not sure how well they gel into a unified album. The vocals in particular give me the biggest pause—not because of Chamberlain’s performance, which is potent across harsh and clean deliveries. I’m just not convinced how well they work in concert, given the even split between them. On previous albums, cleans were sparingly used as accents, but their expanded involvement on The Harvest conjures disparate moods that flit back and forth in a way that occasionally feels jarring (“Autumnal”). The end result is a compromise that lands between the familiar and the bold.

Despite Ashen Horde exploring a new identity on The Harvest, plenty of earwatering fruit awaits a good reaping. As the band calls out in their promo materials, even though the central theme is about endings, The Harvest is a new beginning. I expect opinions will be split on the new direction, but Ashen Horde is a project that teems with ideas and new frontiers, and I’ll take that every time over a band that’s content to remake the same album over and over. Now go check out this week’s Harvest and sample its tasty Ashen Hordeuvres.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

Leading up to the release of The Harvest, Ashen Horde finds themselves pushing against the boundaries of the identity they’ve honed since forming in 2013. Conceived by Los Angeles-based Trevor Portz, the sole contributor through the band’s first two albums,1 Ashen Horde stands as a studio-only project, blurring the lines between black and death metal with progressive tendencies while telling unified stories through each album’s runtime. On third album Fallen Cathedrals, Ashen Horde enlisted the talents of powerhouse vocalist Stevie Boiser (Inferi, Equipoise) to tremendous effect. Portz and Boiser delivered another gem on follow-up Antimony, joined by drummer Robin Stone (Chestcrush) and bassist Igor Panasewicz (NightWraith). On fifth album The Harvest: newcomer Karl Chamberlain (Putrefier) replaces Boiser and leans heavily into melodic cleans, Panasewicz exits the fold, the narrative element has been replaced with a looser theme,2 and Ashen Horde begins rehearsals for their first-ever live performances later this year. Do all these changes result in an effective crop rotation, keeping The Harvest’s yield fresh and rich, or do the white-hot flames of slash-and-burn songwriting blaze too brightly, leaving only a bumper crop of ash?

Where Boiser’s vocals amplified Ashen Horde’s ferocity within the confines of black and death metal, Chamberlain’s stylings push the band’s sound into a more melodic arena. Clean vocals sparsely populated Ashen Horde’s Boiser era, but The Harvest sees them co-headline, prominently featuring Chamberlain’s versatile melodic phrasing. Prior releases’ touchstones Opeth and Enslaved continue to be relevant, yet the emphasis on cleans skews heavily towards Trivium and, to a lesser extent, Killswitch Engage.3 The shift is broader than the vocals, though, as the instrumentation diversifies as well. Frantic trems and knotty compositions previously grounded Ashen Horde’s sound in progressive black metal akin to Ihsahn, but The Harvest evolves to bring a distinctly Voivoidian essence to the guitar work (the riffing after the solo on “Backward Momentum” is classic Piggy). Performance-wise, Ashen Horde delivers first-rate moments that ground returning listeners in a familiar setting, with Portz laying down his usual impressive stringed attack and Stone supplying nuanced exhibitions throughout. In total, these changes evince a band at a crossroads, uncontent to rest on its laurels while a new outlook is forged.

The maturation of Ashen Horde’s sound amounts to more than an inflated list of references, though. For starters, the underlying genres require reevaluation. Fallen Cathedrals and Antimony classify as black metal, death metal, and progressive metal, yet The Harvest adds a healthy dose of melodic death metal and a dash of thrash. Specifically, “Remnant” evokes a slightly proggier take on 90s In Flames while “Apparition” recalls a less rabid The Black Dahlia Murder. Besides Voivod, The Harvest taps into thrash via the jazzy grooves heard on Species’ latest (“Entropy and Ecstasy”) and the whirring, dissonant refrains endemic to Coroner (“Autumnal,” “A Place in the Rot”). With so many moving pieces, it’s a wonder that Ashen Horde retains as much of their core identity as they do.

Given the dramatic musical pivot, The Harvest feels like a snapshot of a band mid-flight rather than one reaching their final destination. With Ashen Horde stacking so many elements on top of one another, I’m not sure how well they gel into a unified album. The vocals in particular give me the biggest pause—not because of Chamberlain’s performance, which is potent across harsh and clean deliveries. I’m just not convinced how well they work in concert, given the even split between them. On previous albums, cleans were sparingly used as accents, but their expanded involvement on The Harvest conjures disparate moods that flit back and forth in a way that occasionally feels jarring (“Autumnal”). The end result is a compromise that lands between the familiar and the bold.

Despite Ashen Horde exploring a new identity on The Harvest, plenty of earwatering fruit awaits a good reaping. As the band calls out in their promo materials, even though the central theme is about endings, The Harvest is a new beginning. I expect opinions will be split on the new direction, but Ashen Horde is a project that teems with ideas and new frontiers, and I’ll take that every time over a band that’s content to remake the same album over and over. Now go check out this week’s Harvest and sample its tasty Ashen Hordeuvres.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

Leading up to the release of The Harvest, Ashen Horde finds themselves pushing against the boundaries of the identity they’ve honed since forming in 2013. Conceived by Los Angeles-based Trevor Portz, the sole contributor through the band’s first two albums,1 Ashen Horde stands as a studio-only project, blurring the lines between black and death metal with progressive tendencies while telling unified stories through each album’s runtime. On third album Fallen Cathedrals, Ashen Horde enlisted the talents of powerhouse vocalist Stevie Boiser (Inferi, Equipoise) to tremendous effect. Portz and Boiser delivered another gem on follow-up Antimony, joined by drummer Robin Stone (Chestcrush) and bassist Igor Panasewicz (NightWraith). On fifth album The Harvest: newcomer Karl Chamberlain (Putrefier) replaces Boiser and leans heavily into melodic cleans, Panasewicz exits the fold, the narrative element has been replaced with a looser theme,2 and Ashen Horde begins rehearsals for their first-ever live performances later this year. Do all these changes result in an effective crop rotation, keeping The Harvest’s yield fresh and rich, or do the white-hot flames of slash-and-burn songwriting blaze too brightly, leaving only a bumper crop of ash?

Where Boiser’s vocals amplified Ashen Horde’s ferocity within the confines of black and death metal, Chamberlain’s stylings push the band’s sound into a more melodic arena. Clean vocals sparsely populated Ashen Horde’s Boiser era, but The Harvest sees them co-headline, prominently featuring Chamberlain’s versatile melodic phrasing. Prior releases’ touchstones Opeth and Enslaved continue to be relevant, yet the emphasis on cleans skews heavily towards Trivium and, to a lesser extent, Killswitch Engage.3 The shift is broader than the vocals, though, as the instrumentation diversifies as well. Frantic trems and knotty compositions previously grounded Ashen Horde’s sound in progressive black metal akin to Ihsahn, but The Harvest evolves to bring a distinctly Voivoidian essence to the guitar work (the riffing after the solo on “Backward Momentum” is classic Piggy). Performance-wise, Ashen Horde delivers first-rate moments that ground returning listeners in a familiar setting, with Portz laying down his usual impressive stringed attack and Stone supplying nuanced exhibitions throughout. In total, these changes evince a band at a crossroads, uncontent to rest on its laurels while a new outlook is forged.

The maturation of Ashen Horde’s sound amounts to more than an inflated list of references, though. For starters, the underlying genres require reevaluation. Fallen Cathedrals and Antimony classify as black metal, death metal, and progressive metal, yet The Harvest adds a healthy dose of melodic death metal and a dash of thrash. Specifically, “Remnant” evokes a slightly proggier take on 90s In Flames while “Apparition” recalls a less rabid The Black Dahlia Murder. Besides Voivod, The Harvest taps into thrash via the jazzy grooves heard on Species’ latest (“Entropy and Ecstasy”) and the whirring, dissonant refrains endemic to Coroner (“Autumnal,” “A Place in the Rot”). With so many moving pieces, it’s a wonder that Ashen Horde retains as much of their core identity as they do.

Given the dramatic musical pivot, The Harvest feels like a snapshot of a band mid-flight rather than one reaching their final destination. With Ashen Horde stacking so many elements on top of one another, I’m not sure how well they gel into a unified album. The vocals in particular give me the biggest pause—not because of Chamberlain’s performance, which is potent across harsh and clean deliveries. I’m just not convinced how well they work in concert, given the even split between them. On previous albums, cleans were sparingly used as accents, but their expanded involvement on The Harvest conjures disparate moods that flit back and forth in a way that occasionally feels jarring (“Autumnal”). The end result is a compromise that lands between the familiar and the bold.

Despite Ashen Horde exploring a new identity on The Harvest, plenty of earwatering fruit awaits a good reaping. As the band calls out in their promo materials, even though the central theme is about endings, The Harvest is a new beginning. I expect opinions will be split on the new direction, but Ashen Horde is a project that teems with ideas and new frontiers, and I’ll take that every time over a band that’s content to remake the same album over and over. Now go check out this week’s Harvest and sample its tasty Ashen Hordeuvres.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

Leading up to the release of The Harvest, Ashen Horde finds themselves pushing against the boundaries of the identity they’ve honed since forming in 2013. Conceived by Los Angeles-based Trevor Portz, the sole contributor through the band’s first two albums,1 Ashen Horde stands as a studio-only project, blurring the lines between black and death metal with progressive tendencies while telling unified stories through each album’s runtime. On third album Fallen Cathedrals, Ashen Horde enlisted the talents of powerhouse vocalist Stevie Boiser (Inferi, Equipoise) to tremendous effect. Portz and Boiser delivered another gem on follow-up Antimony, joined by drummer Robin Stone (Chestcrush) and bassist Igor Panasewicz (NightWraith). On fifth album The Harvest: newcomer Karl Chamberlain (Putrefier) replaces Boiser and leans heavily into melodic cleans, Panasewicz exits the fold, the narrative element has been replaced with a looser theme,2 and Ashen Horde begins rehearsals for their first-ever live performances later this year. Do all these changes result in an effective crop rotation, keeping The Harvest’s yield fresh and rich, or do the white-hot flames of slash-and-burn songwriting blaze too brightly, leaving only a bumper crop of ash?

Where Boiser’s vocals amplified Ashen Horde’s ferocity within the confines of black and death metal, Chamberlain’s stylings push the band’s sound into a more melodic arena. Clean vocals sparsely populated Ashen Horde’s Boiser era, but The Harvest sees them co-headline, prominently featuring Chamberlain’s versatile melodic phrasing. Prior releases’ touchstones Opeth and Enslaved continue to be relevant, yet the emphasis on cleans skews heavily towards Trivium and, to a lesser extent, Killswitch Engage.3 The shift is broader than the vocals, though, as the instrumentation diversifies as well. Frantic trems and knotty compositions previously grounded Ashen Horde’s sound in progressive black metal akin to Ihsahn, but The Harvest evolves to bring a distinctly Voivoidian essence to the guitar work (the riffing after the solo on “Backward Momentum” is classic Piggy). Performance-wise, Ashen Horde delivers first-rate moments that ground returning listeners in a familiar setting, with Portz laying down his usual impressive stringed attack and Stone supplying nuanced exhibitions throughout. In total, these changes evince a band at a crossroads, uncontent to rest on its laurels while a new outlook is forged.

The maturation of Ashen Horde’s sound amounts to more than an inflated list of references, though. For starters, the underlying genres require reevaluation. Fallen Cathedrals and Antimony classify as black metal, death metal, and progressive metal, yet The Harvest adds a healthy dose of melodic death metal and a dash of thrash. Specifically, “Remnant” evokes a slightly proggier take on 90s In Flames while “Apparition” recalls a less rabid The Black Dahlia Murder. Besides Voivod, The Harvest taps into thrash via the jazzy grooves heard on Species’ latest (“Entropy and Ecstasy”) and the whirring, dissonant refrains endemic to Coroner (“Autumnal,” “A Place in the Rot”). With so many moving pieces, it’s a wonder that Ashen Horde retains as much of their core identity as they do.

Given the dramatic musical pivot, The Harvest feels like a snapshot of a band mid-flight rather than one reaching their final destination. With Ashen Horde stacking so many elements on top of one another, I’m not sure how well they gel into a unified album. The vocals in particular give me the biggest pause—not because of Chamberlain’s performance, which is potent across harsh and clean deliveries. I’m just not convinced how well they work in concert, given the even split between them. On previous albums, cleans were sparingly used as accents, but their expanded involvement on The Harvest conjures disparate moods that flit back and forth in a way that occasionally feels jarring (“Autumnal”). The end result is a compromise that lands between the familiar and the bold.

Despite Ashen Horde exploring a new identity on The Harvest, plenty of earwatering fruit awaits a good reaping. As the band calls out in their promo materials, even though the central theme is about endings, The Harvest is a new beginning. I expect opinions will be split on the new direction, but Ashen Horde is a project that teems with ideas and new frontiers, and I’ll take that every time over a band that’s content to remake the same album over and over. Now go check out this week’s Harvest and sample its tasty Ashen Hordeuvres.

Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

There was a time in my youth when bands like California’s Atreyu, Killswitch Engage and their ilk were all I wanted to listen to. Whether this was due to the novelty of the sound in its era, coinciding with my novice experience with metal as a whole, or perhaps the reflection of my own earnest angst resonating from the common themes of the scene, records like As Daylight Dies or Lead Sails Paper Anchor marked core albums in my metallic upbringing. However, with only two exceptions, I never kept up with any of these bands as time passed. My tastes shifted and evolved. For a time, I forgot entirely about Atreyu, until the itch to sing a few of their songs in the car became too much to bear. And so, when I saw Atreyu were not only still active, but about to release a new record aptly entitled The End is Not the End, I had to know how almost 20 years of time away changed my appreciation for Atreyu.

One thing that 20 years did not change was Atreyu’s style. Since my introduction to them with Lead Sails Paper Anchor, an album I still hold in high regard for better or for worse, they firmly entrenched their metalcore base with poppy beats, addicting choruses, and earnest, if ham-fisted, lyrics. Thankfully, they also boasted one of the better vocalists in a style hell-bent on employing whiny tenors with unrefined technique, both in harsh and clean styles. If anything, Brandon Saller has only gotten better with time and practice. The rest of the lineup shifted and swirled until settling into its current form in 2020,1 but other than a marked uptick in pop-centric songwriting, Atreyu preserved the core of their 2007 sound remarkably well.

This both works in their favor and leaves me cold. On one hand, killer hit-makers that are impossible to resist (“Break Me,” “All for You”) recall the shockingly effective simplicity of post-grunge-pop acts like Daughtry or Shinedown at their peak. On the other hand, a distinct lack of unique ideas or distinct identity for the vast majority of its 45-ish minute runtime (with the exception of “Ego Death” and “Children of the Light”) leaves me starving for something of substance. At times, as in the generic “Death Rattle,” small songwriting choices (the crowd-core “MOTHERFUCKER” shout being one) cause a minor recoil in my spine as it recalls the more embarrassing moments of my teen years. However, album standouts “Children of Light” and “In the Dark” evoke a legitimate callback to classic In Flames-style melodic death metal, rippling with energetic gallops and even a cool tandem guitar/saxophone solo. These songs don’t go so far as to abandon Atreyu’s pop sensibilities or cheesy lyrics, but they are big fun nonetheless and are sure to please crowds mightily.

Yet I struggle to recall anything from The End is Not the End once it… well… ends. As happy as I am pulling my favorite songs like “All for You” or “In the Dark” for playlist duties—which would eventually allow them to find purchase in my memory—I can’t help but stew in disappointment that nothing here sticks with the immediacy of past bangers like “Doomsday,” “When Two Are One” or “Falling Down.” I can appreciate that The End is Not the End is an altogether more hopeful and uplifting record compared to that angsty, bitter predecessor of my youth, but the shift in tone hasn’t helped the songwriting. On that front, The End is Not the End sounds like Atreyu going through the motions, spinning their wheels, and making very little forward momentum. In turn, I found very little here to grab onto and even less that grabbed me first.

I still want to go to bat for these guys. As many times as I’ve heard my comrades and co-conspirators belittle Atreyu, I can’t help but protect the soft spot I have for them. At the same time, The End is Not the End is not going to convince any of the naysayers, and hasn’t won me over either. There are great songs here with choruses that I would have a blast belting out at a drop of a hat. A couple of small sparks of unexpected heft remind me that Atreyu are, indeed, part of the metal landscape, albeit on the poppiest fringe of the core region. All in all, though, I’m not going to think at all about The End is Not the End 20 years from now. Alas.

Rating: Disappointing.
DR: Use Your Imagination | Format Reviewed: Streamfarm
Label: Spinefarm Records
Websites: atreyuofficial.com | facebook.com/Atreyu
Releases Worldwide: April 24th, 2026

In Flames arrasó en un Cariola en éxtasis | vía #iRock

https://www.irock.cl/in-flames-arraso-en-un-cariola-en-extasis/?utm_source=rss&utm_medium=rss&utm_campaign=in-flames-arraso-en-un-cariola-en-extasis

#chargola #diametral #inflames #irockwebzine #livereviewinternacional #metal #projector #teatrocariola

Enjoying Sunday writing and testing with some tunes from when I was much younger 😂 #InFlames #Whoracle

#plex #plexamp

People like you
You live in a dream world
You despise the outside
And you fear the next one!
https://www.youtube.com/watch?v=B7iIS91fMAc
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HERETOIR – Solastalgia Review

By Owlswald

Fall in the Pacific Northwest means two things: foggy air and the official start of sadboi season. And German post-black quintet HERETOIR are here to offer a choice soundtrack for the colder, darker months ahead. Since its inception as a solo project by multi-instrumentalist David Conrad in 2006, HERETOIR has been a mainstay in the blackgaze scene, crafting music that has been a long-standing source of catharsis while operating in the darkness with other well-known acts like Alcest and Fen. Solastalgia marks the trio’s fourth full-length album, but the first one we’ve reviewed here. Still, the group’s presence at AMG Industries isn’t entirely new. On the heels of their 2017 sophomore album The Circle, drummer Nils Groth spoke candidly in an interview with staff emeritus Muppet about how music can be a vital outlet for dealing with mental health. Since then, HERETOIR shifted to a collaborative songwriting process to define the darker and ethereal sound of their third album, Nightsphere. That same collaborative spirit now forms the core of Solastalgia, which explores themes of alienation and grief over the loss of our natural world.

Crafted to be an immersive listen, Solastalgia follows a heavy-light-heavy progression. High-energy tracks like “You are the Night,” “Burial” and “The Ashen Falls” boast the crunchy riffs, trem-picked guitars and rhythmic aggression of The Circle, while “Dreamgatherer,” “The Heart of December” and “Rain” shift toward the softer Alecstian sounds of Nightsphere during Solastalgia’s more contemplative middle. Groth absolutely pummels his kit for over an hour with tight blasts, hard-hitting hardcore rhythms, and eclectic fills that add tons of stylistic flair. Likewise, Conrad delivers a standout vocal performance, adding to the material’s raw, emotional feel with Katatonian sadboi cleans and Novembre-like murmurs contrasting blood-curdling screams and sweeping choral hooks. A high-quality production, with a smothering bass tone and cinematic elements like spoken word (“The Ashen Falls”), piano (“Solastalgia,” “Rain”,) and flute (“Season of Grief”) magnifies the immense emotional weight of HERETOIR’s music, creating a charged, multilayered atmosphere fraught with inner conflict and catharsis.

HERETOIR is adept at building a palpable sense of tension and releasing it through explosive crescendos, weaving a rich sonic tapestry of contrasting dynamics. They masterfully execute this formula across the album’s ten1 tracks with serene, reverb-drenched blackgaze textures juxtaposed by furious blasts, crushing breakdowns and soaring choruses. On “Inertia,” a pensive beginning of ominous piano and cascading tremolos abruptly halts—a pin-drop then detonates, unleashing a devastating maelstrom of thick distortion and ear-piercing screams that propels the track forward. “Season of Grief” is a dynamic journey that gradually builds momentum, shifting from unexpected death metal passages to a quiet, ghostly acoustic bridge before an epic, atmospheric crescendo—driven by Groth’s technical fills—brings the song to an enthralling conclusion. Throughout Solastalgia’s runtime, Conrad’s fluid vocals are key to fusing the album’s wide influences. He seamlessly transitions from soaring, Howard Jones-esque (Killswitch Engage) cleans (“You Are the Night”) to a grief-stricken fry (“Inertia”) and even burly death metal growls (“Season of Grief”), balancing accessibility with profound sorrow and grief.2

With such emotional veracity, an album of Solastalgia’s caliber could easily become too emotionally taxing. But HERETOIR deftly prevents listener burnout by bookending the record with its most expansive compositions. However, while this structure largely succeeds, Solastalgia’s flow is somewhat disrupted by the back-to-back placement of softer tracks like “Dreamgatherer” and “The Heart of December.” Although these tracks provide necessary breaks, their weaker hooks and limited variation make Solastalgia’s middle—from “Rain” through “The Heart of December”—feel a bit like a slog. Furthermore, the inclusion of “Metaphor,” an In Flames cover, at the very end detracts from the album’s flow and would have been better suited as a bonus track.

Even with its minor flaws, Solastalgia provides the perfect welcome to colder and darker seasons, offering a soundtrack for those who seek catharsis and solace in confronting inner turmoil. It successfully blends the best of The Circle and Nightsphere, creating a powerful and immersive tour de force of emotional intensity. Its songwriting takes listeners on a musical journey through a spectrum of genres, from serene blackgaze to aggressive hardcore, progressive death metal, and even screamo. For those drawn to the dark and melancholic, HERETOIR has created a record that successfully fuses their past into an experience that is sure to satisfy.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: heretoir.bandcamp.com/album/solastalgia | heretoir.com | facebook.com/heretoir
Releases Worldwide: September 19th, 2025

#2025 #35 #Alcest #AOPRecords #AtmosphericBlackMetal #BlackMetal #Fen #GermanMetal #Heretoir #InFlames #Katatonia #KillswitchEngage #Novembre #PostMetal #Review #Reviews #Sep25 #Shoegaze #Solastalgia

Angry Metal Guy Speaks: 10,000 Posts

By Angry Metal Guy

There’s almost no good way to mark these anniversaries without getting a little self-referential, maybe a little maudlin… or without tooting your own horn until you’re red in the face and everyone’s embarrassed. Still, it has come to my attention that this is the 10,000th post of AngryMetalGuy.com. Actually, as of this writing, the number of posts in the entire system is supremely metal 10,666. Also, we have something like 600 drafts that never saw the light of day and 49 pending posts that have never been published.1 To say that we’ve been productive carries with it a drunk Bilbo Bagginsesque tone of bemusement.

“My, we have been productive.”

During the 16ish years of unbound fecundity that it took for us to reach this dubious landmark, many a writer or would-be writer (over 60, at this point) has spilled internet ink within these unhallowed halls. We have extolled the virtues and excoriated the shortcomings of wonderful records and forgettable platters. We’ve opined, and raged, and littered the page with so many puns and dad jokes that you’d think this website was the patriarch of a family of 10. The total result of this hard work has resulted in been 8,032,385 words that have been written.2 Divide that by 10,000, and that’s an average of about 803 words per post—53 more than our max review length.3 The Year of Our Angry Overlord, 2019, was our most productive year ever. It saw us jam through 983 posts—a mind-numbing number if you think about it for long enough. Our longest average posts to date were last year, in 2024, where our average post had 955 words. I can’t even imagine how that’s possible, but there you go.4

And what are the core bits of writing that really drive readership? Well, here’s where the horn tootin’ comes in. Of our Top 20(ish) posts, 10 are Angry Metal Guy’s Top Ten(ish) Record(s) o’ the Year lists (with 2015 taking the cake for the most read post of all time). Three more of those are other lists: songs 50-41 of my Top 50 Heavy Metal Songs list; 10-1 of that same list; and my Top 15(ish) of the 2000s. The most viewed non-list was Steel Druhm‘s April Fool’s post from last year about Ripper Owens leaving KK’s Priest for BB’s Maiden. And then there’s the reviews. El Cuervo‘s review of Opeth The Last Will and Testament,5 my review of In Flames’ Foregone, Druhm‘s review of Megadeth’s The Sick, the Dying…and the Dead!, both Veil of Imagination and Epigone (landing very close to each other in terms of views and written by El Cuervo and myself), Batushka’s Litourgiya (TYMHM from 2015, penned by our dear [not actually] deceased Roquentin), and my review of Opeth’s Pale Communion round out the Top 20 posts.6

And even after all this time, we are still changing the world and keeping up with the times by spreading disinformation about incorrigible self-Googler Ripper Owens. That Ripper Owens post that was posted on April 1st, 2024, has moved from parody into objective fact, as it has been picked up by Google’s AI as the answer to the question: “Is Ripper Owens still in KK’s Priest?” The answer? “No, Tim ‘Ripper’ Owens is not currently with KK’s Priest. He left the band in early 2024 to pursue a new project with former Iron Maiden vocalist Blaze Bayley.” A round of applause for both Druhm and the superiority and inevitability of AI!7

What do I take away from this list? Well, aside from pride at what I—nay, we—have wrought, it pays to review big bands’ records if you want a lot of views. I know that’s tough to imagine, but there we are. Better, however, than the super obvious thing is that I’m particularly proud of how we helped to spread the word about Wilderun and Batushka. But this list also brings with it some melancholy and nostalgia. Seeing Druhm and me as the only active writers on this list is a bit of a bummer. But as time moves on, we’ll make new memories with new exploited writers who will pen review after review without compensation, only to watch us feast ourselves even fatter on the spoils of our seniority.

And the raft of contributors who have come and gone deserve recognition. In the end, I want to thank everyone who has contributed to making Angry Metal Guy what it has become over the years—from the Potatoes Jim of the world to the Steels Druhm.8 Without you, this would never have happened. I appreciate the blood, sweat, and/or tears that you have put into carrying my boulder up that hill every day. And so even though your names aren’t at the top of this list, know that I tolerate each one of you with the same cold-hearted disinterest that I always have. Your service has been noted.

As for you readers? Without you, it would’ve taken a lot of refreshing my browser and switching between VPNs to get enough daily readers, so as to result in a desire to keep pushing on until we hit 10,000 posts. So, thank you for your loyalty over the years. We love (most) of your comments. We enjoy (most) of your opinions. And we are (entirely) happy that you spend your hard-earned money on the bands we love, and thank you for your trust. You reading, listening, and supporting the scene means we’re all making the world a better place one overwritten review or blog post at a time.

#2025 #AngryMetalGuySpeaks #Batushka #BlogPost #BlogPosts #Disillusion #InFlames #Landmarks #Megadeth #Opeth #Wilderun

Angry Metal Guy Speaks: 10,000 Posts

By Angry Metal Guy

There’s almost no good way to mark these anniversaries without getting a little self-referential, maybe a little maudlin… or without tooting your own horn until you’re red in the face and everyone’s embarrassed. Still, it has come to my attention that this is the 10,000th post of AngryMetalGuy.com. Actually, as of this writing, the number of posts in the entire system is supremely metal 10,666. Also, we have something like 600 drafts that never saw the light of day and 49 pending posts that have never been published.1 To say that we’ve been productive carries with it a drunk Bilbo Bagginsesque tone of bemusement.

“My, we have been productive.”

During the 16ish years of unbound fecundity that it took for us to reach this dubious landmark, many a writer or would-be writer (over 60, at this point) has spilled internet ink within these unhallowed halls. We have extolled the virtues and excoriated the shortcomings of wonderful records and forgettable platters. We’ve opined, and raged, and littered the page with so many puns and dad jokes that you’d think this website was the patriarch of a family of 10. The total result of this hard work has resulted in been 8,032,385 words that have been written.2 Divide that by 10,000, and that’s an average of about 803 words per post—53 more than our max review length.3 The Year of Our Angry Overlord, 2019, was our most productive year ever. It saw us jam through 983 posts—a mind-numbing number if you think about it for long enough. Our longest average posts to date were last year, in 2024, where our average post had 955 words. I can’t even imagine how that’s possible, but there you go.4

And what are the core bits of writing that really drive readership? Well, here’s where the horn tootin’ comes in. Of our Top 20(ish) posts, 10 are Angry Metal Guy’s Top Ten(ish) Record(s) o’ the Year lists (with 2015 taking the cake for the most read post of all time). Three more of those are other lists: songs 50-41 of my Top 50 Heavy Metal Songs list; 10-1 of that same list; and my Top 15(ish) of the 2000s. The most viewed non-list was Steel Druhm‘s April Fool’s post from last year about Ripper Owens leaving KK’s Priest for BB’s Maiden. And then there’s the reviews. El Cuervo‘s review of Opeth The Last Will and Testament,5 my review of In Flames’ Foregone, Druhm‘s review of Megadeth’s The Sick, the Dying…and the Dead!, both Veil of Imagination and Epigone (landing very close to each other in terms of views and written by El Cuervo and myself), Batushka’s Litourgiya (TYMHM from 2015, penned by our dear [not actually] deceased Roquentin), and my review of Opeth’s Pale Communion round out the Top 20 posts.6

And even after all this time, we are still changing the world and keeping up with the times by spreading disinformation about incorrigible self-Googler Ripper Owens. That Ripper Owens post that was posted on April 1st, 2024, has moved from parody into objective fact, as it has been picked up by Google’s AI as the answer to the question: “Is Ripper Owens still in KK’s Priest?” The answer? “No, Tim ‘Ripper’ Owens is not currently with KK’s Priest. He left the band in early 2024 to pursue a new project with former Iron Maiden vocalist Blaze Bayley.” A round of applause for both Druhm and the superiority and inevitability of AI!7

What do I take away from this list? Well, aside from pride at what I—nay, we—have wrought, it pays to review big bands’ records if you want a lot of views. I know that’s tough to imagine, but there we are. Better, however, than the super obvious thing is that I’m particularly proud of how we helped to spread the word about Wilderun and Batushka. But this list also brings with it some melancholy and nostalgia. Seeing Druhm and me as the only active writers on this list is a bit of a bummer. But as time moves on, we’ll make new memories with new exploited writers who will pen review after review without compensation, only to watch us feast ourselves even fatter on the spoils of our seniority.

And the raft of contributors who have come and gone deserve recognition. In the end, I want to thank everyone who has contributed to making Angry Metal Guy what it has become over the years—from the Potatoes Jim of the world to the Steels Druhm.8 Without you, this would never have happened. I appreciate the blood, sweat, and/or tears that you have put into carrying my boulder up that hill every day. And so even though your names aren’t at the top of this list, know that I tolerate each one of you with the same cold-hearted disinterest that I always have. Your service has been noted.

As for you readers? Without you, it would’ve taken a lot of refreshing my browser and switching between VPNs to get enough daily readers, so as to result in a desire to keep pushing on until we hit 10,000 posts. So, thank you for your loyalty over the years. We love (most) of your comments. We enjoy (most) of your opinions. And we are (entirely) happy that you spend your hard-earned money on the bands we love, and thank you for your trust. You reading, listening, and supporting the scene means we’re all making the world a better place one overwritten review or blog post at a time.

#2025 #AngryMetalGuySpeaks #Batushka #BlogPost #BlogPosts #Disillusion #InFlames #Landmarks #Megadeth #Opeth #Wilderun

Anthony Ellis: Ashes of Reason – Crisis Catalyst Review

By Angry Metal Guy

Written By: Nameless_n00b_603

CRISIS CATALYST – 1

In an age where technology is abundant and affordable, it’s never been easier for someone with a ditty and a dream to make their music a reality. Enter Ashes of Reason, the brainchild of one-man band Anthony Ellis, and his third full-length, Crisis Catalyst. Shouldering the responsibility to write, record, and produce your own album is painstakingly ambitious and requires deep wells of both grit and gumption. Calling the shots means you get to deliver your 100% pure, undiluted vision into the hungry earholes of curious listeners. You also risk crafting an echo chamber, reinforcing questionable choices, and forgoing feedback that could make the difference between a romp-stomping release and an aural slog.

Crisis Catalyst is an influence-laced affair, with an In Flames-tinged riff here (“Desensitised Nation”) and an Annihilator-flavored vocal delivery there (“Crisis Catalyst”). It’s at the altar of Iron Maiden, though, where Ashes of Reason worships most fervently. The problem with wearing influences on your sleeve is that you inevitably draw comparisons to your muse, especially when covering one of their most beloved tunes. Ashes of Reason’s cover of “Hallowed Be Thy Name” offers a cross-section of the woes that plague Crisis Catalyst, including dubious production and a scarcity of the show-stopping shredder cheese that most heavy metal cooks with.1

Listeners’ largest and most immediate hurdle is Ellis’ voice. He employs an assortment of styles; opener “Fight the Machine” touts Halfordian falsettos that get blood and fists pumping, and it’s a shame this style is relegated to one track because it’s by far the best one deployed. Mostly, the vocals mirror a reduced Devin Townsend (“Screaming at the Void,” “Pineapple Party”) without the range or versatility and are too often pitchy and unrefined. The biggest vocal sin is the ungainly reverb bedeviling tracks across the album (“Hallowed Be Thy Name,” “Clarity,”2 “The Long Return”).3 Hearing it repeatedly undercuts the momentum built by better moments. Layered vocal harmonies present another challenge; they aren’t inherently bad and work well when deftly implemented, but at times throughout Crisis Catalyst, they clash with jarring friction (“Screaming at the Void,” “Clarity,” “Ledger of Ghosts”). Other times, one vocal track sustains a note longer than another, creating a sloppy, uneven experience when mixed together (“Screaming at the Void,” “The Long Return”). If consuming Crisis Catalyst passively, some of these gripes aren’t immediately arresting, but once attuned, they’re distracting and difficult to endure on repeated spins.

Despite the vocals, there are plenty of praise-worthy moments on Crisis Catalyst. Rock-solid riffs snake through the album, featuring kickass licks and highlighting Ellis as an adept rhythm guitarist. Whether drawing from Gothenburg charm (“Desensitised,” “Cost Too High”), laying out Maidenesque riffs (“Clarity”4) or pumping out hard-rocking grooves (“Fight the Machine,” “Pineapple Party”), Ashes of Reason can assemble rousing compositions. Bass guitar occupies an unobtrusive yet chunky space that fits snugly in the mix (“Crisis Catalyst,” “Hallowed Be Thy Name”), while the drumming is an album highlight, flexing quick-sticked fills and fleet footwork.

Crisis Catalyst has promise, but those promising ideas are undermined by execution blunders and strange production decisions, leaving me wondering how much better Crisis Catalyst might have been with an experienced producer and another guitarist. The final result is a disappointing collection of tracks that needs more polish before serving it to the masses. If this review is harsh, it’s not out of malice. It takes a heaping dose of resolve and fearlessness to will an entire album into existence on your own, and for that, Anthony Ellis deserves a hearty tip of the cap. A good album lurks within these depths, but the experience is ultimately marred by distracting vocal effects, familiar ideas, and choices that are hard to justify. Absent a track to reel me back in, I won’t return to Crisis Catalyst after I close the chapter on this review. But with better production and more refinement, I’d be interested to hear what comes next.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Website: ashesofreason.bandcamp.com
Releases Worldwide: July 4th, 2025

#2025 #Annihilator #AnthonyEllis #AshesOfReason #CrisisCatalyst #HeavyMetal #InFlames #IronMaiden #Jul25 #Review #Reviews #SelfReleases

Some #Synology #DataProtection #ActiveProtect #backup stress tests powered by #inflames and #plexamp🤘🏻

Countless voices in the dark #inflames #inthedark

https://youtu.be/MzW-9PCYpCI?si=aK_8FeGn33PBcfAF

Machine Head announce 2025 Spring Tour w/ In Flames, Lacuna Coil & Unearth:

#MachineHead #SpringTour #2025Tour #TourAlert #InFlames #LacunaCoil #Unearth

https://metalinsider.net/touring/machine-head-announce-2025-spring-tour-w-in-flames-lacuna-coil-unearth

Das familiäre, schwedische Abriss-Unternehmen Ihres Vertrauens.

https://www.gig-blog.net/2024/10/20/in-flames-arch-enemy-soilwork-18-10-2024-schleyerhalle-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #InFlames #ArchEnemy #Soilwork #Stuttgart

Gestern Abend #soilwork, #archenemy und #inflames - dank der bekackten Parkplatzsituation der Sporthalle haben wir die Hälfte von Soilwork verpasst, aber der Rest war großartig 😊🤘

#TheMetalDogArticleList
#BLABBERMOUTH
VOLA Recruits IN FLAMES' ANDERS FRIDÉN For 'Cannibal' Single, Video

https://blabbermouth.net/news/vola-recruits-in-flames-anders-friden-for-cannibal-single-video

#Vola #InFlames #AndersFriden #Cannibal #FriendOfAPhantom

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 September 3rd, 2024 🤘
IRON MAIDEN, JUDAS PRIEST, KING'S X, OVERKILL, IN FLAMES, DEATH ANGEL

https://bravewords.com/news/today-in-metal-history-september-3rd-2024-iron-maiden-judas-priest-king-s-x-overkill-in-flames-death-angel

#IronMaiden #JudasPriest #KingsX #Overkill #InFlames #DeathAngel #DougPinnick #EricBell #DonaldBrewer #SteveJones #Powerslave #Painkiller #Horrorscope #RollTheBones #Hungry #RerouteToRemain #Tripsis #TheFourthSeason #RelentlessRetribution #TheAvariceOfMan #PsychededlicEpisodes

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 July 3rd, 2024🤘 RATT, JIM MORRISON, SUICIDAL TENDENCIES, CRYPTOPSY, IN FLAMES

https://bravewords.com/news/today-in-metal-history-july-3rd-2024-ratt-jim-morrison-suicidal-tendencies-cryptopsy-in-flames

#Ratt #JimMorrison #SuicidalTendencies #Cryptopsy #InFlames #TheRollingStones #TheDoors #Free #Sodom #Nile #Kataklysm #IcarusWitch #Periphery #TheWordAlive #Boris #BuryTomorrow #Haunt #HenryDerekElis #Jesu #Khemmis #Poltergeist #Powerwolf #Sunburst #FuManchu #Noroth #Cavalera #CryptSermon #Wormed #Phantom #Kvaen #Sibirr #Accept

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

#TheMetalDogArticleList
#MetalInjection
Get To Know The Metal Injection Festival Bands With Our New Playlist
Or more bluntly, get into some good metal right now.

https://metalinjection.net/playlist/get-to-know-the-metal-injection-festival-bands-with-these-playlists

#GodForbid #GoneForever #3InchesOfBlood #PallidVeil #LucLemay #Gorguts #DaveDavidson #Revocation #LiamWilson #TheDillingerEscapePlan #InFlames #ElliotHoffman #Carbomb #CaveIn #AdamMcGrath #StephenBrodsky #Jinjer #Converge

UK Alt-Metal Act VEXED Releases Official Video for “It’s not the end” https://allabouttherock.co.uk/uk-alt-metal-act-vexed-releases-official-video-for-its-not-the-end/ #Revocation #Metalcore #Carnifex #InFlames #Aborted #Napalm #thrash #Cabal #death #VEXED #News #math #prog #tour

UK Alt-Metal Act VEXED Releases Official Video for “It’s not the end” https://allabouttherock.co.uk/uk-alt-metal-act-vexed-releases-official-video-for-its-not-the-end/ #Revocation #Metalcore #Carnifex #InFlames #Aborted #Napalm #thrash #Cabal #death #VEXED #News #math #prog #tour

UK Alt-Metal Act VEXED Releases Official Video for “It’s not the end” https://allabouttherock.co.uk/uk-alt-metal-act-vexed-releases-official-video-for-its-not-the-end/ #Revocation #Metalcore #Carnifex #InFlames #Aborted #Napalm #thrash #Cabal #death #VEXED #News #math #prog #tour

#TheMetalDogArticleList
#BraveWords
IN FLAMES Release Making Of Foregone Documentary, Pt. 4: Conclusion; Video

https://bravewords.com/news/in-flames-release-making-of-foregone-documentary-pt-4-conclusion-video

#InFlames #documentary #makingof #foregone #conclusion #video

#TheMetalDogArticleList
#BLABBERMOUTH
ANDERS FRIDÉN Praises IN FLAMES' Current Lineup: 'We Never Sounded Better'

https://blabbermouth.net/news/anders-friden-praises-in-flames-current-lineup-we-never-sounded-better

#AndersFriden #InFlames #CurrentLineup #Praises #NeverSoundedBetter

Angry Metal Guy’s Top Ten(ish) of 2023

By Angry Metal Guy

The Year of Our Angry Overlord 2023 saw an AngryMetalGuy.com that continues its upward trajectory. We produced 713 posts (mostly reviews), which, in terms of raw numbers, is the lowest since 2015 and can be improved upon, but the 890 word-per-post mark that we are at, is the highest average word count in our history. This means, we ended up with a hefty 634,674 words in 2023. We also averaged 39,539 views a day, leading us to our highest readership numbers ever at 14,420,637 total page views in 2023. The readership of AMG is also global, though the English-speaking world dominates our readership, with the USA, England and Canada taking up spots 1 to 3 on our highest views list. Happily, in my opinion, Germany has overtaken Australia as our fourth biggest readership and that means it’s only a matter of time before I’m asked to perform a live review writing at Wacken. Spots 6-10 are taken up by the Netherlands, Sweden, France, Spain and Brazil—a who’s who of excellent footballing nations (and an excellent Eurovision nation) that also love our brand of high quality, long form analytical reviews. So, thanks to all of you from all over the world for loving us almost as much as we love you! And to the one guy (literally) in Vatican City who visits our blog once a year, we appreciate you so much.

That we continue to outstrip our previous performance is entirely because of you, our readers, who are so loyal and open to new music that we can claim an Angry Metal Guy Bump™, because when we review stuff, you listen to it. I’ve received plenty of personal correspondence from bands and PR people reporting that AngryMetalGuy.com gives better numbers than Decibel in terms of listens and purchases. This means that Angry Metal Guy matters, and we intend to use that power to … do exactly the same thing we always do: listen to great music, promote music that we love and trash popular bands for all the engagement it brings us.1

The year 2023 also saw us welcoming in new writers, and despite some people fading away or stepping back (both Madam X and Grymm will be missed), I feel like we have as strong a profile for our writing as we ever had. Again, it makes me beyond happy that all my stupid little ideas about how a music blog should be run have turned into this bazaar of the bizarre, with writers whose taste in music I pretty much detest, as well as some good eggs who hold true to the AngryMetalGuy.com vision of giving everything from Scandinavia a 4.0 or better. Anyway, regardless of how bad your taste is, thanks to you all for your hard work and dedication. You’ll be especially fond of me—each and every one of you—when you read the footnotes to this post. It’s footnote 6 that’s of particular interest to you. I would also like to especially thank our dedicated editing staff, headed up by—but certainly not limited to—Steel Druhm as well as Sentynel, whose steadfast dedication to keeping the site running warms my heart.

On a personal note, this year was supposed to be one of the best of my life. It has been an unmitigated pile of shit, with only a few bright spots. As usual, I’ll try to make 2024 a better year, where I am Angry Metal Guy in practice, not just in spirit. A new year always brings unreasonable and unrealistic goals that get broken in shame by April, doesn’t it? Well, that’s mine.

I love you all. Except the Discord. You guys are terrible.

#ish: Fellowship // The Winterlight Chronicles [December 22nd, 2023 | Scarlet Records] — Oh man, they did piano versions of songs from The Saberlight Chronicles? RotY. <3

#ish: Riverside // ID.Entity [January 20th, 2023 | InsideOut Music] — Back and forth between the 10-spot and then the 9-spot and now an #ish, ID.Entity is a genuinely good album from a band that I am happy has regained some of its swagger. I didn’t need another morose, overly wet album full of painfully sad songs and a Great Plains style mastering job.2 I needed a record that was absolutely swimming in references to The Police and ’80s Yes, and Riverside obliged. At 53 minutes, I decided, that “The Place Where I Belong” just mars the whole a little too much to put it higher up the list. But color me excited for what’s next for Riverside, because ID.Entity definitely got my attention again.

#ish: Soen // Memorial [September 1st, 2023 | Silver Lining Music] — Once before I’ve missed a review for a Soen album, but that time I had our much missed Huckster to cover me. Memorial continues down the path the band started down on Imperial—well, on Lotus, in actuality—of making tight, poppy groove metal with an emotional edge. I particular enjoy Memorial’s fast paced tracks and the introduction of the Iron Maiden-style guitar harmonies that litter the album. There have been some gripes that Memorial hews too close to the arc of Imperial, but I think the album has both its own sound and is loaded with great songs. And unlike its predecessor, Memorial seems to genuinely peak in terms of the heaviness that these old guys are willing to put on (proverbial) tape, while still leaning into savvy pop choruses with Eklöf’s unique emotional cadence. We shouldn’t have missed it and neither should you.

#10: Vomitory // All Heads Are Gonna Roll [May 26th, 2023 | Metal Blade Records] — Vomitory is not trend. Vomitory is not kvlt. Vomitory makes death metal to mosh your brains out to. They are very good at it. And that’s why their first album since their deeply underrated Opus VIII was a happening in the Angry Metal Guy household. As time has worn on, I have become less and less excitable before a new release. But in this case, I was right to be excited. All Heads Are Gonna Roll—despite its Swenglish title3—delivers the kind of decapitating death metal that the world—by which I mean me—has missed in the 12 years that the pride of Karlstad has been missing in action. And weirdly few bands are living in the sphere that Vomitory runs in right now, meaning that All Heads Are Gonna Roll is an even more vital contribution to the propagation of good, grinding, groovy death metal that isn’t trying to be Gorguts or Ulcerate OR to relive the glory years of the Stockholm scene. Long live Vomitory!

#9: Crypta // Shades of Sorrow [August 4th, 2023 | Napalm Records] — Years ago, I remember reviewing Vomitory’s Opus VIII and thinking it was remarkable because it was direct and to the point and it just felt like “good, honest death metal.” I had a similar feeling hearing Crypta’s debut record, Echoes of the Soul, and I became enamored with the album. But, as with so many successful bands experiencing success,, Crypta lost a key member almost immediately; their glam-as-fuck guitarist who was, at least in part, responsible for the band’s strong melodic core. This gave rise to worry that Shades of Sorrow might suffer from Ye Olde Sophomore Slumpe. Fortunately, Brazil’s favorite daughters found an excellent replacement and are filled to the brim with riffs. Shades of Sorrow pumps out another 52 minutes of memorable, groovy death metal (albeit with a darker, more blackened vibe) and has been a constant companion since I first heard it. After what must have been an absolutely crazy year for them—having toured with Morbid Angel and lost their rented RV in the process—I hope that they’re leaning back and appreciating what they’ve accomplished in the last three years. Two Angry Metal Guy top 10s? Does it get better than that?

#8: Gorod // The Orb [March 10th, 2023 | Self-Release] — Gorod is my favorite active tech death band for a reason. To paraphrase myself: greatness is hard; consistent greatness is Gorod. That’s because these French death metallers are a breed apart, with a sound that’s truly special. The Orb, which dropped back in March, helped to re-solidify my admiration for the band’s dynamic, guitar-driven approach. Every time I put it in, I’m immersed in the most captivating riffs, the boldest ideas, the most intense rasps and growls, and a compositional variety that consistently engages. There are, of course, minor things that make it a little less my favorite than its predecessor, but The Orb exudes Gorod’s unique character and is so flawlessly executed that any criticisms seem trivial. The Orb shows Gorod being true to its essence, a spectacle we should be thankful to experience.

#7: Haken // Fauna [March 3rd, 2023 | InsideOut Music] — I have to be honest: I didn’t expect Fauna to get anywhere near this list during 95% of the year. The reality is that when I first got it, I couldn’t get into it. I have two different partially written drafts that I could never finish because it kept losing me. I wanted to like it. I didn’t like it, but I couldn’t put my finger on why. So, I ascribed it to me going through some stuff, since I wasn’t enjoying much of anything. Recently, it popped up and I gave it another chance. As these things can go, it clicked. And of course it did. Haken, a ridiculously good band despite going Full Djent™ a few years ago, has a history of throwing curveballs and exploring sounds. Fauna finds them working in the artistic tradition of writing music that’s meant to evoke other creatures—bulls, monkeys, elephants, etc.—and this artistic device helped them to diversify their sound on Fauna. The result is an album that is as diverse as it is expansive and—first and foremost—fun! Like the best albums, Fauna reveals new things every time I go back to it, and I can never quite decide what my favorite song is. It also serves as a reminder that Haken is one of the best active prog bands, honestly, the only limits they have are the ones they set for themselves.

#6: Isole // Anesidora — I’ve always respected Isole and enjoyed their material. But I’ve never been overly enamored with them and I’ve never considered myself “a big fan.” Anesidora has changed that. Isole’s newest opus hits that sweet spot between a classic Candlemass record and a classic My Dying Bride record that I didn’t even know I needed. The result of this unholy blending of sounds and feels is a doom metal that I love as much as nearly any doom in my collection. Anesidora sports all the best traits of great albums; memorable songs; a listening time that results in instant re-listens; and, first and foremost, addictive melodies and themes. After weeding its way into regular rotation, Anesidora has simply never left. It’s a combination of excellent songwriting, great performances and some of the most subtly sticky composition I’ve heard in years. It’s clear to me now why Isole is only second to the Christmas Goat on the list of “famous people and/or entities from Gävle, Sweden” on Wikipedia.4

#5: Leiþa // Reue [January 13th, 2023 | Noisebringer Records] — I’ll never recapture the feeling of sheer and utter wonder that I felt hearing Windir for the first time. Nor will I relive the naïveté of enjoying Halmstad without having heard of Kvarforth. But if I’m going to get close, Leiþa’s epic Reue would be the thing that did it. This may be the first time that a one-man black metal side project (this time from Kanonenfieber’s Noise) has graced one of my Top 10(ish) lists, and that should be enough to make you sit up and take note. Leiþa has wrought a masterful work of great—potentially even excellent—black metal that deftly balances the genre’s past and present. The album, which Carcharodon correctly diagnosed as both “rich and textured,” is uncompromising, cutting a unique path through the depressive black metal subgenre with aggressive riffing and production which is on the attack. Yet, despite being free of the bed of reverb endemic to anything ‘depressive,’ Reue exquisitely evokes the existential angst of remorse while evoking the melodic black metal chops reserved for Norway’s most underrated black metal band. I will not rue the day I heard Reue, because it helped to define 2023 for me.

#4: Anareta // Fear Not [April 8th, 2023 | Self-release] — One of the first revelations of 2023, Anareta’s particular approach to extreme metal surprised and enchanted me. Throughout the year, Fear Not has continued to show up on my playlist and every time, I’m just as impressed with it. One can criticize the production, but there’s something that feels genuine and authentic about Anareta’s not-that-great-sound and that simply works for me. But for me, there’s no point in rehashing a debate about production on the debut album from a self-released artist. The music—and that music’s impeccable vibes—speaks for itself. From start to finish, Fear Not regales listeners with an idiosyncratic take on orchestral metal that evokes some all time classics. But it’s not enough to hear potential in a band; there’s also something about Anareta that radiates agility and an oppenness for new ideas. In a field filled with rehashes, Anareta offer something meaningfully different, and that meaningful difference will keep getting spins for years to come.

#3: Xoth // Exogalatic [November 3rd, 2023 | Self-release] — I remember hearing Xoth for the first time: frenetic guitars; frantic vocals; blasts from hell bolstering ripping riffs made all the sharper with biting guitar tone. But aside from its intensity, Xoth sported great songs with slick hooks that made all the energy and enthusiasm feel genuine and justified. Exogalactic continues the band’s triumphant march across the universe to pillage and revel in the spoils of war.5 Sporting the consistently best thrashy melodic death metal this world has heard since the early-90s, Xoth has started to cement themselves as one of my favorite bands. If you aren’t listening to this album on repeat, do you even like metal?6 I’ll leave you to ponder that as you cry alone in the shower (I hear it gets great natural reverb). In the meantime, I’ll be over here, trying to figure out to make my Xoth, Carnosus, Gorod triple headlining tour happen and whether I can afford the subsequent neck surgery.

#2: Angra // Cycles of Pain [November 3, 2023 | Atomic Fire Records] — If you had told me that I would become a fast fan of Angra back in 2000s, when I was siding with the then-simply-monikered Rhapsody about whether Sascha Paeth wrote their music, I would have laughed in your face. Thus, there is a level of irony that I have come to really love Angra now, for the first time, when they have saved ex-[(Luca) Turilli(/Lione)’s] Rhapsody [of Fire] singer Fabio Lione from his old life. And, for my part, I think that Cycles of Pain is on par with previous end-of-year-list-gracers like Secret Garden and Ømni—yes, and even with the band’s classics like Temple of Shadows—with Fabio sounding better than he ever has in his career and with vital, engaging, energetic writing.7 Cycles of Pain was a late-year release, but it was one of my most anticipated for a reason. From start to finish, Cycles of Pain features truly great songs and performances and demonstrates that Angra is as vital as ever.8

#1: Carnosus // Visions of Infinihility [February 10th, 2023 | Self-release] — The term tour de force was coined to describe albums like Visions of Infinihility. Sometimes an album simply rules and your record o’ the year choice is uncomplicated. Carnosus’ sophomore album is such an album. The music is intense and techy, but there’s something that feels remarkably direct about an album that crushes this hard from start to finish. From the word go Visions of Infinihility oozes addictive riff after heart crushing riff and lodges itself in your headbanging muscle. It’s impossible to listen to Carnosus without wanting to fuck some shit up and that’s exactly how I—and I assume everyone reading a website named after me—wants their Record o’ the Year to sound. And unlike other years, where I spent a lot of time agonizing over the choice and regretted it later, this was easy.. Sure, there’s been plenty of competition throughout the year from awesome bands who make excellent music; see the foregoing list! But Visions of Infinihility stands out in its steadfast and stubborn place at the top of my playlist. And I know I’m not alone. Now that these guys have signed to Willowtip—which I’m taking as a win for us—I cannot wait to see what these guys do in the future.9

Honorable Mentions

Insomnium // Anno 1696 [February 24th, 2023 | Century Media Records] — Insomnium will never release another Winter’s Gate, I just have to get used to that. But 2023 saw Anno 1696, which was a good record that I have enjoyed a lot. The problem that I have is that Anno 1696 all too often has sent me packing to listen to Winter’s Gate, because I feel like it starts too damned slow and really peaks once I’m about a third of the way. Still, I’ve been listening to it a lot because the songwriting is great, the vibes are legit and Insomnium is a great band. Just missed the cut.

In Flames // Foregone [February 10th, 2023 | Nuclear Blast Records] — In Flames didn’t threaten to genuinely list, if I’m honest. But I need to bring this album up as one of the best surprises I had all year. I don’t care what you think, Foregone has some of the best material the band has put out since Colony and I am fucking here for it.

By Fire and Sword // Glory [September 22nd, 2023 | No Remorse Records] — This album has been threatening to make this list for a while now. I am creeped out by it and amused by it and I think the biggest problem I have with it is that the singer lacks that power metal edge that I like, but also doesn’t have the silky smooth delivery of a Tony Kakko. Still, the songwriting here is fantastic and funny and I suspect that I will regret not spending more time with this prior to Listurnalia. Though, what does it replace?

Sacred Outcry // Towers of Gold [May 19th, 2023 | No Remorse Records] — It ain’t “Sworn in the Metal Wind,” but after reading Metal Pigeon‘s rant about power metal not taking power metal seriously anymore, I checked out Sacred Outcry. And he was right, Towers of Gold is a fantastic record that shows what could be happening in power metal if fans of it weren’t so fucking embarrassed to like it.

Twilight Force // At the Heart of Wintervale [January 20th, 2023 | Nuclear Blast Records] — At the Heart of Wintervale is adventurous, epic, and surprisingly agile power metal from Dalarna in Sweden (+ a brilliant Italian singer). Throughout this epic romp through Wintervale, these (mostly) Swedes serve up “bombastic” and “flamboyant” songs that develop a diverse, more experimental sound than what Twilight Force trafficked in previously. The result is an extremely diverting record with only minor blemishes, and the future has never seemed brighter for Twilight Force.

Fellowship // The Saberlight Chronicles [July 13th, 2022 | Scarlet Records] — Okay, okay, this is a stupid stunt. But it is my second most listened to album in 2023 and it’s really hard to move on from it. Just great music, lyrics, and all around vibes. These dorks speak the language of intense angst and fantasy novels and, let’s face it, I’m fluent in that shit.

…and Oceans // As in Gardens, So in Tombs [January 27th, 2023 | Seasons of Mist] — Did everyone forget that …and Oceans released its second great ‘reunion’ record? Well, you shouldn’t have. It’s fucking good. It’s weird how this one kind of fell off the map for a lot of people.

Frozen Dawn // The Decline of the Enlightened Gods [February 10th, 2023 | Transcending Obscurity Records] — Spanish meloblack that cuts a path through the overly wet, overly repetitive atmoblack people with an ice pick and trem picked melodies. These guys have some growing to do in terms of writing, but The Decline of the Enlightened Gods is a great album and I look forward to hearing more from them in future.

Top 10(ish) Songs o’ the Year

#ish: Katatonia – “Impermanence” from Sky Void of Stars — I didn’t include “disappointments” on this list, but needless to say, I found Sky Void of Stars to be lacking. Still, when Katatonia hits, they really hit. “Impermanence” — which coincidentally also features Joel Eklöf from Soen — hits exactly the vibe I’m looking for from Katatonia. Give me 45 minutes of this, guys, and you’ll be printing your own Excellent reviews.

#10: In Flames – “Foregone, Pt. 1” from Foregone — My biggest surprise this year was that I liked an In Flames album for the first time in two decades. With the reintroduction of their classic sound and, in particular, that 6/8 counterpoint to the guitar solo at 2:36, these guys cemented in me a deep hope that the next one will be even better.

#9: Isole – “Monotonic Scream” from Anesidora — This whole record is filled with hooks and ideas that I adore, but “Monotonic Scream” is likely the song that brought me back to to Anesidora after hearing it the first couple times. Two things stand out about this track for me. First, I love the classic doom sound and that eighth note doom feel, but it’s the chorus that really gets me with its strong My Dying Bride vibe. Daniel Bryntse’s vocal performance here absolutely nails the exact vibe I crave in my doom metal. Everything fits perfectly and sounds great. The repetition of the riff and chorus that starts at 5:43 is powerful as hell.

#8: Soen – “Memorial” from Memorial — It’s actually hard to choose a song from Memorial because I think the music is very strong. What I love about “Memorial” is that it shows off what the album does well. The combination of huge poppy choruses with a genuinely heavy crunch and a scooped, American sound on the production with harmonized guitars and Eklöf’s emotive vocals just works. The dual lead at 3:19 helps to illustrate the way that Memorial has added a wrinkle to the band’s sound and it all builds into the kind of melodramatic outro that I can’t get enough of. These guys speak my musical language of love.

#7: Carnosus – “Towards Infinihilistic Purity” from Visions of Infinihility — Sometimes the only thing I need is a blast beat, a ska riff, and a weird fucking eBow guitar drone to get me to listen to a song 700 times in a row. This grinds super hard and feel is perfect. Shout out to the formerly tightly betrousered and hilariously beswooped Jonatan Karasiak for his totally wild performance throughout this whole record.

#6: Riverside – “Self Aware” from ID.Entity — If this were the style and vibe of all future Riverside material, I would take it. Bass-driven, The Police-referencing, awkward vaguely moralistic lyrics, but with that slight underlying sadness that shows up on everything these guys has ever done? Yeah, I’d take it. In particular, I love this main riff and the strong ’80s vibe. More of this, plz!

#5: Gorod – “We Are the Sun Gods” from The Orb — The interplay between the guitars here is pretty much the only thing I need in my life. In particular, listen to the harmonies in the pre-chorus. These fuckers are ridiculous and their style and sound make me so happy. Now, check that clean tapping section that starts at 2:16 and tell me that isn’t one of the coolest things you’ve heard all year. I especially love how the drums get more intense as the part goes on.

Gorod is better than humanity deserves.

#4: Haken – “Sempiternal Beings” from Fauna — This may be the best song Haken has written since The Mountain. Obviously, this still has a kind of djenty rhythmic approach, but the mix of sounds and feels—the clean, melancholic sounds and melody—culminates in an absolutely epic chorus. Here’s a special shout out to the section that starts around 5:20 that sounds like Radiohead as interpreted by Muse as interpreted by Haken before breaking into a ridiculous guitar solo.

#3: By Fire and Sword – “Leave a Little Room” from Glory — I’m going to be totally honest, the singer—Tom Newby—sounds a little bit like your buddy singing along with music in the car at times. But what makes Glory such a crazy, fun album is the songwriting. “Leave a Little Room” features a straightforward and memorable chorus (love those harmonies under the vocals). It has a direct, classic metal vibe that’s hard not to nod your head to. But it’s that moment at 3:46—”Leave a little room, leave a little room, leave little room, leave it…”—followed by Tom Newby’s fundy pastor impression that left me going “Wait, what?” and replaying the whole thing. Again. And again. And again. Honestly, I can’t get enough of this record, and this is the song that got me hooked.

#2: Xoth – “The Parasitic Orchestra” from Exogalactic — This whole album is fantastic, but I just can’t get past the totally majestic chorus in this song. Great riffs. Great vocals. Majestic-ass chorus. Also, love those harmonized solos at the end of the track. They remind me of The Black Dahlia Murder’s best work with Ryan Knight. I could listen to this on a loop for 24 hours and be okay with myself. Though the next six months “doo doo dooing” the guitar melody from the chorus might eventually drive me mad.

#1: Angra – “Tears of Blood” from Cycles of Pain — My hot take over recent years has been that Rafael Bittencourt should just take over the vocal duties in Angra. This was in part because every time they released a record, they would have a duet where it was Bittencourt who took on the vocal duties. These tracks features as my song of the year twice (that is, going 2 for 2 in the Fabio era) and I have to say that I love the man’s voice.

“Tears of Blood” may be the argument that what I love is Bittencourt’s writing, instead of his voice. Going 3-for-3, Cycles of Pain’s big culminating track is a duet that this time features Fabio and Amanda Somerville—just check her Metal Archives to figure out why you know her even though you don’t know that you know her—and it’s everything I’m looking for.10 Fabio sounds, again, as good as he’s ever sounded—keeping his vibrato in check, while flexing his opera muscles—and Somerville has a fantastic voice. These are bound up in the kind of operatic duet that you could imagine Italy sending to Eurovision. It’s all power and melodrama, orchestra swells and big ol’ voices. And it’s my favorite song of the year.

#AndOceans #2023 #AmandaSomerville #Anareta #Angra #AngryMetalGuySTop10Ish_ #BlogPosts #ByFireAndSword #Carnosus #Crypta #FabioLione #Fellowship #FrozenDawn #Gorod #Haken #InFlames #Insomnium #Isole #Kanonenfieber #Katatonia #Leipa #Leitha #Lists #Listurnalia #MorbidAngel #Riverside #SacredOutcry #Soen #TwilightForce #Vomitory #Xoth

Angry Metal Guy’s Top Ten(ish) of 2023

By Angry Metal Guy

The Year of Our Angry Overlord 2023 saw an AngryMetalGuy.com that continues its upward trajectory. We produced 713 posts (mostly reviews), which, in terms of raw numbers, is the lowest since 2015 and can be improved upon, but the 890 word-per-post mark that we are at, is the highest average word count in our history. This means, we ended up with a hefty 634,674 words in 2023. We also averaged 39,539 views a day, leading us to our highest readership numbers ever at 14,420,637 total page views in 2023. The readership of AMG is also global, though the English-speaking world dominates our readership, with the USA, England and Canada taking up spots 1 to 3 on our highest views list. Happily, in my opinion, Germany has overtaken Australia as our fourth biggest readership and that means it’s only a matter of time before I’m asked to perform a live review writing at Wacken. Spots 6-10 are taken up by the Netherlands, Sweden, France, Spain and Brazil—a who’s who of excellent footballing nations (and an excellent Eurovision nation) that also love our brand of high quality, long form analytical reviews. So, thanks to all of you from all over the world for loving us almost as much as we love you! And to the one guy (literally) in Vatican City who visits our blog once a year, we appreciate you so much.

That we continue to outstrip our previous performance is entirely because of you, our readers, who are so loyal and open to new music that we can claim an Angry Metal Guy Bump™, because when we review stuff, you listen to it. I’ve received plenty of personal correspondence from bands and PR people reporting that AngryMetalGuy.com gives better numbers than Decibel in terms of listens and purchases. This means that Angry Metal Guy matters, and we intend to use that power to … do exactly the same thing we always do: listen to great music, promote music that we love and trash popular bands for all the engagement it brings us.1

The year 2023 also saw us welcoming in new writers, and despite some people fading away or stepping back (both Madam X and Grymm will be missed), I feel like we have as strong a profile for our writing as we ever had. Again, it makes me beyond happy that all my stupid little ideas about how a music blog should be run have turned into this bazaar of the bizarre, with writers whose taste in music I pretty much detest, as well as some good eggs who hold true to the AngryMetalGuy.com vision of giving everything from Scandinavia a 4.0 or better. Anyway, regardless of how bad your taste is, thanks to you all for your hard work and dedication. You’ll be especially fond of me—each and every one of you—when you read the footnotes to this post. It’s footnote 6 that’s of particular interest to you. I would also like to especially thank our dedicated editing staff, headed up by—but certainly not limited to—Steel Druhm as well as Sentynel, whose steadfast dedication to keeping the site running warms my heart.

On a personal note, this year was supposed to be one of the best of my life. It has been an unmitigated pile of shit, with only a few bright spots. As usual, I’ll try to make 2024 a better year, where I am Angry Metal Guy in practice, not just in spirit. A new year always brings unreasonable and unrealistic goals that get broken in shame by April, doesn’t it? Well, that’s mine.

I love you all. Except the Discord. You guys are terrible.

#ish: Fellowship // The Winterlight Chronicles [December 22nd, 2023 | Scarlet Records] — Oh man, they did piano versions of songs from The Saberlight Chronicles? RotY. <3

#ish: Riverside // ID.Entity [January 20th, 2023 | InsideOut Music] — Back and forth between the 10-spot and then the 9-spot and now an #ish, ID.Entity is a genuinely good album from a band that I am happy has regained some of its swagger. I didn’t need another morose, overly wet album full of painfully sad songs and a Great Plains style mastering job.2 I needed a record that was absolutely swimming in references to The Police and ’80s Yes, and Riverside obliged. At 53 minutes, I decided, that “The Place Where I Belong” just mars the whole a little too much to put it higher up the list. But color me excited for what’s next for Riverside, because ID.Entity definitely got my attention again.

#ish: Soen // Memorial [September 1st, 2023 | Silver Lining Music] — Once before I’ve missed a review for a Soen album, but that time I had our much missed Huckster to cover me. Memorial continues down the path the band started down on Imperial—well, on Lotus, in actuality—of making tight, poppy groove metal with an emotional edge. I particular enjoy Memorial’s fast paced tracks and the introduction of the Iron Maiden-style guitar harmonies that litter the album. There have been some gripes that Memorial hews too close to the arc of Imperial, but I think the album has both its own sound and is loaded with great songs. And unlike its predecessor, Memorial seems to genuinely peak in terms of the heaviness that these old guys are willing to put on (proverbial) tape, while still leaning into savvy pop choruses with Eklöf’s unique emotional cadence. We shouldn’t have missed it and neither should you.

#10: Vomitory // All Heads Are Gonna Roll [May 26th, 2023 | Metal Blade Records] — Vomitory is not trend. Vomitory is not kvlt. Vomitory makes death metal to mosh your brains out to. They are very good at it. And that’s why their first album since their deeply underrated Opus VIII was a happening in the Angry Metal Guy household. As time has worn on, I have become less and less excitable before a new release. But in this case, I was right to be excited. All Heads Are Gonna Roll—despite its Swenglish title3—delivers the kind of decapitating death metal that the world—by which I mean me—has missed in the 12 years that the pride of Karlstad has been missing in action. And weirdly few bands are living in the sphere that Vomitory runs in right now, meaning that All Heads Are Gonna Roll is an even more vital contribution to the propagation of good, grinding, groovy death metal that isn’t trying to be Gorguts or Ulcerate OR to relive the glory years of the Stockholm scene. Long live Vomitory!

#9: Crypta // Shades of Sorrow [August 4th, 2023 | Napalm Records] — Years ago, I remember reviewing Vomitory’s Opus VIII and thinking it was remarkable because it was direct and to the point and it just felt like “good, honest death metal.” I had a similar feeling hearing Crypta’s debut record, Echoes of the Soul, and I became enamored with the album. But, as with so many successful bands experiencing success,, Crypta lost a key member almost immediately; their glam-as-fuck guitarist who was, at least in part, responsible for the band’s strong melodic core. This gave rise to worry that Shades of Sorrow might suffer from Ye Olde Sophomore Slumpe. Fortunately, Brazil’s favorite daughters found an excellent replacement and are filled to the brim with riffs. Shades of Sorrow pumps out another 52 minutes of memorable, groovy death metal (albeit with a darker, more blackened vibe) and has been a constant companion since I first heard it. After what must have been an absolutely crazy year for them—having toured with Morbid Angel and lost their rented RV in the process—I hope that they’re leaning back and appreciating what they’ve accomplished in the last three years. Two Angry Metal Guy top 10s? Does it get better than that?

#8: Gorod // The Orb [March 10th, 2023 | Self-Release] — Gorod is my favorite active tech death band for a reason. To paraphrase myself: greatness is hard; consistent greatness is Gorod. That’s because these French death metallers are a breed apart, with a sound that’s truly special. The Orb, which dropped back in March, helped to re-solidify my admiration for the band’s dynamic, guitar-driven approach. Every time I put it in, I’m immersed in the most captivating riffs, the boldest ideas, the most intense rasps and growls, and a compositional variety that consistently engages. There are, of course, minor things that make it a little less my favorite than its predecessor, but The Orb exudes Gorod’s unique character and is so flawlessly executed that any criticisms seem trivial. The Orb shows Gorod being true to its essence, a spectacle we should be thankful to experience.

#7: Haken // Fauna [March 3rd, 2023 | InsideOut Music] — I have to be honest: I didn’t expect Fauna to get anywhere near this list during 95% of the year. The reality is that when I first got it, I couldn’t get into it. I have two different partially written drafts that I could never finish because it kept losing me. I wanted to like it. I didn’t like it, but I couldn’t put my finger on why. So, I ascribed it to me going through some stuff, since I wasn’t enjoying much of anything. Recently, it popped up and I gave it another chance. As these things can go, it clicked. And of course it did. Haken, a ridiculously good band despite going Full Djent™ a few years ago, has a history of throwing curveballs and exploring sounds. Fauna finds them working in the artistic tradition of writing music that’s meant to evoke other creatures—bulls, monkeys, elephants, etc.—and this artistic device helped them to diversify their sound on Fauna. The result is an album that is as diverse as it is expansive and—first and foremost—fun! Like the best albums, Fauna reveals new things every time I go back to it, and I can never quite decide what my favorite song is. It also serves as a reminder that Haken is one of the best active prog bands, honestly, the only limits they have are the ones they set for themselves.

#6: Isole // Anesidora — I’ve always respected Isole and enjoyed their material. But I’ve never been overly enamored with them and I’ve never considered myself “a big fan.” Anesidora has changed that. Isole’s newest opus hits that sweet spot between a classic Candlemass record and a classic My Dying Bride record that I didn’t even know I needed. The result of this unholy blending of sounds and feels is a doom metal that I love as much as nearly any doom in my collection. Anesidora sports all the best traits of great albums; memorable songs; a listening time that results in instant re-listens; and, first and foremost, addictive melodies and themes. After weeding its way into regular rotation, Anesidora has simply never left. It’s a combination of excellent songwriting, great performances and some of the most subtly sticky composition I’ve heard in years. It’s clear to me now why Isole is only second to the Christmas Goat on the list of “famous people and/or entities from Gävle, Sweden” on Wikipedia.4

#5: Leiþa // Reue [January 13th, 2023 | Noisebringer Records] — I’ll never recapture the feeling of sheer and utter wonder that I felt hearing Windir for the first time. Nor will I relive the naïveté of enjoying Halmstad without having heard of Kvarforth. But if I’m going to get close, Leiþa’s epic Reue would be the thing that did it. This may be the first time that a one-man black metal side project (this time from Kanonenfieber’s Noise) has graced one of my Top 10(ish) lists, and that should be enough to make you sit up and take note. Leiþa has wrought a masterful work of great—potentially even excellent—black metal that deftly balances the genre’s past and present. The album, which Carcharodon correctly diagnosed as both “rich and textured,” is uncompromising, cutting a unique path through the depressive black metal subgenre with aggressive riffing and production which is on the attack. Yet, despite being free of the bed of reverb endemic to anything ‘depressive,’ Reue exquisitely evokes the existential angst of remorse while evoking the melodic black metal chops reserved for Norway’s most underrated black metal band. I will not rue the day I heard Reue, because it helped to define 2023 for me.

#4: Anareta // Fear Not [April 8th, 2023 | Self-release] — One of the first revelations of 2023, Anareta’s particular approach to extreme metal surprised and enchanted me. Throughout the year, Fear Not has continued to show up on my playlist and every time, I’m just as impressed with it. One can criticize the production, but there’s something that feels genuine and authentic about Anareta’s not-that-great-sound and that simply works for me. But for me, there’s no point in rehashing a debate about production on the debut album from a self-released artist. The music—and that music’s impeccable vibes—speaks for itself. From start to finish, Fear Not regales listeners with an idiosyncratic take on orchestral metal that evokes some all time classics. But it’s not enough to hear potential in a band; there’s also something about Anareta that radiates agility and an oppenness for new ideas. In a field filled with rehashes, Anareta offer something meaningfully different, and that meaningful difference will keep getting spins for years to come.

#3: Xoth // Exogalatic [November 3rd, 2023 | Self-release] — I remember hearing Xoth for the first time: frenetic guitars; frantic vocals; blasts from hell bolstering ripping riffs made all the sharper with biting guitar tone. But aside from its intensity, Xoth sported great songs with slick hooks that made all the energy and enthusiasm feel genuine and justified. Exogalactic continues the band’s triumphant march across the universe to pillage and revel in the spoils of war.5 Sporting the consistently best thrashy melodic death metal this world has heard since the early-90s, Xoth has started to cement themselves as one of my favorite bands. If you aren’t listening to this album on repeat, do you even like metal?6 I’ll leave you to ponder that as you cry alone in the shower (I hear it gets great natural reverb). In the meantime, I’ll be over here, trying to figure out to make my Xoth, Carnosus, Gorod triple headlining tour happen and whether I can afford the subsequent neck surgery.

#2: Angra // Cycles of Pain [November 3, 2023 | Atomic Fire Records] — If you had told me that I would become a fast fan of Angra back in 2000s, when I was siding with the then-simply-monikered Rhapsody about whether Sascha Paeth wrote their music, I would have laughed in your face. Thus, there is a level of irony that I have come to really love Angra now, for the first time, when they have saved ex-[(Luca) Turilli(/Lione)’s] Rhapsody [of Fire] singer Fabio Lione from his old life. And, for my part, I think that Cycles of Pain is on par with previous end-of-year-list-gracers like Secret Garden and Ømni—yes, and even with the band’s classics like Temple of Shadows—with Fabio sounding better than he ever has in his career and with vital, engaging, energetic writing.7 Cycles of Pain was a late-year release, but it was one of my most anticipated for a reason. From start to finish, Cycles of Pain features truly great songs and performances and demonstrates that Angra is as vital as ever.8

#1: Carnosus // Visions of Infinihility [February 10th, 2023 | Self-release] — The term tour de force was coined to describe albums like Visions of Infinihility. Sometimes an album simply rules and your record o’ the year choice is uncomplicated. Carnosus’ sophomore album is such an album. The music is intense and techy, but there’s something that feels remarkably direct about an album that crushes this hard from start to finish. From the word go Visions of Infinihility oozes addictive riff after heart crushing riff and lodges itself in your headbanging muscle. It’s impossible to listen to Carnosus without wanting to fuck some shit up and that’s exactly how I—and I assume everyone reading a website named after me—wants their Record o’ the Year to sound. And unlike other years, where I spent a lot of time agonizing over the choice and regretted it later, this was easy.. Sure, there’s been plenty of competition throughout the year from awesome bands who make excellent music; see the foregoing list! But Visions of Infinihility stands out in its steadfast and stubborn place at the top of my playlist. And I know I’m not alone. Now that these guys have signed to Willowtip—which I’m taking as a win for us—I cannot wait to see what these guys do in the future.9

Honorable Mentions

Insomnium // Anno 1696 [February 24th, 2023 | Century Media Records] — Insomnium will never release another Winter’s Gate, I just have to get used to that. But 2023 saw Anno 1696, which was a good record that I have enjoyed a lot. The problem that I have is that Anno 1696 all too often has sent me packing to listen to Winter’s Gate, because I feel like it starts too damned slow and really peaks once I’m about a third of the way. Still, I’ve been listening to it a lot because the songwriting is great, the vibes are legit and Insomnium is a great band. Just missed the cut.

In Flames // Foregone [February 10th, 2023 | Nuclear Blast Records] — In Flames didn’t threaten to genuinely list, if I’m honest. But I need to bring this album up as one of the best surprises I had all year. I don’t care what you think, Foregone has some of the best material the band has put out since Colony and I am fucking here for it.

By Fire and Sword // Glory [September 22nd, 2023 | No Remorse Records] — This album has been threatening to make this list for a while now. I am creeped out by it and amused by it and I think the biggest problem I have with it is that the singer lacks that power metal edge that I like, but also doesn’t have the silky smooth delivery of a Tony Kakko. Still, the songwriting here is fantastic and funny and I suspect that I will regret not spending more time with this prior to Listurnalia. Though, what does it replace?

Sacred Outcry // Towers of Gold [May 19th, 2023 | No Remorse Records] — It ain’t “Sworn in the Metal Wind,” but after reading Metal Pigeon‘s rant about power metal not taking power metal seriously anymore, I checked out Sacred Outcry. And he was right, Towers of Gold is a fantastic record that shows what could be happening in power metal if fans of it weren’t so fucking embarrassed to like it.

Twilight Force // At the Heart of Wintervale [January 20th, 2023 | Nuclear Blast Records] — At the Heart of Wintervale is adventurous, epic, and surprisingly agile power metal from Dalarna in Sweden (+ a brilliant Italian singer). Throughout this epic romp through Wintervale, these (mostly) Swedes serve up “bombastic” and “flamboyant” songs that develop a diverse, more experimental sound than what Twilight Force trafficked in previously. The result is an extremely diverting record with only minor blemishes, and the future has never seemed brighter for Twilight Force.

Fellowship // The Saberlight Chronicles [July 13th, 2022 | Scarlet Records] — Okay, okay, this is a stupid stunt. But it is my second most listened to album in 2023 and it’s really hard to move on from it. Just great music, lyrics, and all around vibes. These dorks speak the language of intense angst and fantasy novels and, let’s face it, I’m fluent in that shit.

…and Oceans // As in Gardens, So in Tombs [January 27th, 2023 | Seasons of Mist] — Did everyone forget that …and Oceans released its second great ‘reunion’ record? Well, you shouldn’t have. It’s fucking good. It’s weird how this one kind of fell off the map for a lot of people.

Frozen Dawn // The Decline of the Enlightened Gods [February 10th, 2023 | Transcending Obscurity Records] — Spanish meloblack that cuts a path through the overly wet, overly repetitive atmoblack people with an ice pick and trem picked melodies. These guys have some growing to do in terms of writing, but The Decline of the Enlightened Gods is a great album and I look forward to hearing more from them in future.

Top 10(ish) Songs o’ the Year

#ish: Katatonia – “Impermanence” from Sky Void of Stars — I didn’t include “disappointments” on this list, but needless to say, I found Sky Void of Stars to be lacking. Still, when Katatonia hits, they really hit. “Impermanence” — which coincidentally also features Joel Eklöf from Soen — hits exactly the vibe I’m looking for from Katatonia. Give me 45 minutes of this, guys, and you’ll be printing your own Excellent reviews.

#10: In Flames – “Foregone, Pt. 1” from Foregone — My biggest surprise this year was that I liked an In Flames album for the first time in two decades. With the reintroduction of their classic sound and, in particular, that 6/8 counterpoint to the guitar solo at 2:36, these guys cemented in me a deep hope that the next one will be even better.

#9: Isole – “Monotonic Scream” from Anesidora — This whole record is filled with hooks and ideas that I adore, but “Monotonic Scream” is likely the song that brought me back to to Anesidora after hearing it the first couple times. Two things stand out about this track for me. First, I love the classic doom sound and that eighth note doom feel, but it’s the chorus that really gets me with its strong My Dying Bride vibe. Daniel Bryntse’s vocal performance here absolutely nails the exact vibe I crave in my doom metal. Everything fits perfectly and sounds great. The repetition of the riff and chorus that starts at 5:43 is powerful as hell.

#8: Soen – “Memorial” from Memorial — It’s actually hard to choose a song from Memorial because I think the music is very strong. What I love about “Memorial” is that it shows off what the album does well. The combination of huge poppy choruses with a genuinely heavy crunch and a scooped, American sound on the production with harmonized guitars and Eklöf’s emotive vocals just works. The dual lead at 3:19 helps to illustrate the way that Memorial has added a wrinkle to the band’s sound and it all builds into the kind of melodramatic outro that I can’t get enough of. These guys speak my musical language of love.

#7: Carnosus – “Towards Infinihilistic Purity” from Visions of Infinihility — Sometimes the only thing I need is a blast beat, a ska riff, and a weird fucking eBow guitar drone to get me to listen to a song 700 times in a row. This grinds super hard and feel is perfect. Shout out to the formerly tightly betrousered and hilariously beswooped Jonatan Karasiak for his totally wild performance throughout this whole record.

#6: Riverside – “Self Aware” from ID.Entity — If this were the style and vibe of all future Riverside material, I would take it. Bass-driven, The Police-referencing, awkward vaguely moralistic lyrics, but with that slight underlying sadness that shows up on everything these guys has ever done? Yeah, I’d take it. In particular, I love this main riff and the strong ’80s vibe. More of this, plz!

#5: Gorod – “We Are the Sun Gods” from The Orb — The interplay between the guitars here is pretty much the only thing I need in my life. In particular, listen to the harmonies in the pre-chorus. These fuckers are ridiculous and their style and sound make me so happy. Now, check that clean tapping section that starts at 2:16 and tell me that isn’t one of the coolest things you’ve heard all year. I especially love how the drums get more intense as the part goes on.

Gorod is better than humanity deserves.

#4: Haken – “Sempiternal Beings” from Fauna — This may be the best song Haken has written since The Mountain. Obviously, this still has a kind of djenty rhythmic approach, but the mix of sounds and feels—the clean, melancholic sounds and melody—culminates in an absolutely epic chorus. Here’s a special shout out to the section that starts around 5:20 that sounds like Radiohead as interpreted by Muse as interpreted by Haken before breaking into a ridiculous guitar solo.

#3: By Fire and Sword – “Leave a Little Room” from Glory — I’m going to be totally honest, the singer—Tom Newby—sounds a little bit like your buddy singing along with music in the car at times. But what makes Glory such a crazy, fun album is the songwriting. “Leave a Little Room” features a straightforward and memorable chorus (love those harmonies under the vocals). It has a direct, classic metal vibe that’s hard not to nod your head to. But it’s that moment at 3:46—”Leave a little room, leave a little room, leave little room, leave it…”—followed by Tom Newby’s fundy pastor impression that left me going “Wait, what?” and replaying the whole thing. Again. And again. And again. Honestly, I can’t get enough of this record, and this is the song that got me hooked.

#2: Xoth – “The Parasitic Orchestra” from Exogalactic — This whole album is fantastic, but I just can’t get past the totally majestic chorus in this song. Great riffs. Great vocals. Majestic-ass chorus. Also, love those harmonized solos at the end of the track. They remind me of The Black Dahlia Murder’s best work with Ryan Knight. I could listen to this on a loop for 24 hours and be okay with myself. Though the next six months “doo doo dooing” the guitar melody from the chorus might eventually drive me mad.

#1: Angra – “Tears of Blood” from Cycles of Pain — My hot take over recent years has been that Rafael Bittencourt should just take over the vocal duties in Angra. This was in part because every time they released a record, they would have a duet where it was Bittencourt who took on the vocal duties. These tracks features as my song of the year twice (that is, going 2 for 2 in the Fabio era) and I have to say that I love the man’s voice.

“Tears of Blood” may be the argument that what I love is Bittencourt’s writing, instead of his voice. Going 3-for-3, Cycles of Pain’s big culminating track is a duet that this time features Fabio and Amanda Somerville—just check her Metal Archives to figure out why you know her even though you don’t know that you know her—and it’s everything I’m looking for.10 Fabio sounds, again, as good as he’s ever sounded—keeping his vibrato in check, while flexing his opera muscles—and Somerville has a fantastic voice. These are bound up in the kind of operatic duet that you could imagine Italy sending to Eurovision. It’s all power and melodrama, orchestra swells and big ol’ voices. And it’s my favorite song of the year.

#AndOceans #2023 #AmandaSomerville #Anareta #Angra #AngryMetalGuySTop10Ish_ #BlogPosts #ByFireAndSword #Carnosus #Crypta #FabioLione #Fellowship #FrozenDawn #Gorod #Haken #InFlames #Insomnium #Isole #Kanonenfieber #Katatonia #Leipa #Leitha #Lists #Listurnalia #MorbidAngel #Riverside #SacredOutcry #Soen #TwilightForce #Vomitory #Xoth

Weather said it was going to be a cold one today so got myself all layered up for my 10k run today. Tell you what I was sweating by the time I’d finished 🥵💦 #running #10krun #heartratetraining #slowrunning #easyrunning #adidasrunning #runningcommunity #runnersofmastodon #mastorunners #oldguysrule #inflames

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#MetalInjection
FOO FIGHTERS, MTLEY CRE, SLIPKNOT, LIMP BIZKIT, KERRY KING & More Announced For Welcome To Rockville 2024
Plus Judas Priest, Mudvayne, Mr. Bungle, Anthrax, Mammoth WVH, In Flames, and way more.

https://metalinjection.net/tour-dates/foo-fighters-motley-crue-slipknot-limp-bizkit-kerry-king-more-announced-for-welcome-to-rockville-2024

#WelcomeToRockville2024 #FooFighters #MotleyCrue #Slipknot #LimpBizkit #KerryKing #RockFestival #RockMusic #RockReunion #JudasPriest #InFlames #WVH #MrBungle #Anthrax

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#BLABBERMOUTH
IN FLAMES Frontman Doesn't Understand Why Fans Watch Concerts Through Their Phones
...IN FLAMES frontman Anders Fridn was asked for his opinion on concertgoers using cell phones to take photos and videos of performances and sometimes filming entire shows instead of enjoying the moment...

https://blabbermouth.net/news/in-flames-frontman-doesnt-understand-why-fans-watch-concerts-through-their-phones

#inFlames
#smartphones
#liveMusic
#concertAttendees
#musicExperience
#mobileDevices
#bandPerform

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#louder
A beginner's guide to melodic death metal in five essential albums
Born in the UK and perfected in Sweden, modern metal has a lot to thank melodeath for. Mainly via these five classics

https://www.loudersound.com/features/a-beginners-guide-to-melodic-death-metal-in-five-essential-albums

#MelodicDeathMetal #DeathMetal #Deathcore #GothenburgSound #Girlschool #DarkTranquility #InFlames #AtTheGates #ArchEnemy #ChildrenOfBodom

Des amateurs.de #metal ici ? Recemment un crush pour #inflames, #eluveitie et #darktranquility . Pense devoir en parler .

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ANDERS FRIDÉN On IN FLAMES' Recent Albums: "I Don't Feel We've Disconnected From Our Roots"
"I can't try to please every single person and where they are in their musical journey."

https://metalinjection.net/news/anders-friden-on-in-flames-recent-albums-i-dont-feel-weve-disconnected-from-our-roots

#AndersFriden #InFlames #RecentAlbums #MetalMusic #Roots #StayTrue

Here's my updated #AOTY2023 list:

1. #Obituary - Dying Of Everything 4/5
2. #Screamer - Kingmaker 4/5
2. #Hellripper - Warlocks Grim & Withered Hags 4/5
3. #Memoriam - Rise To Power 3,5/5
4. #TwilightForce - At The Heart Of Wintervale 3,5/5
5. #AllMyShadows - Eerie Monsters 3/5
6. #AirRaid - Fatal Encounter 3/5 *NEW*
7. #MONOINC - Ravenblack 3/5
8. #AllOutWar - Celestial Rot 3/5
9. #Leiþa - Reue 3/5
10. #InFlames - Foregone 2,5/5
11. #Katatonia - Sky Void of Stars 2/5

#TomsAOTY2023

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THE WEEKLY INJECTION: New Releases From IN FLAMES, DELAIN & More Out Today 2/10
Plus releases from Distant, Flub, Fredlös, Pierce The Veil, and Venamoris.

https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-in-flames-delain-more-out-today-2-10

#InFlames
#Delain
#NewMusic
#HeavyMetal
#MetalInjection

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#MetalInjection
ANDERS FRIDÉN Of IN FLAMES On The Band's New Album, Melancholy In Music & The Best IN FLAMES Record
Plus he talks about why interviews suck.

https://metalinjection.net/video/anders-friden-of-in-flames-on-the-bands-new-album-melancholy-in-music-the-best-in-flames-record

#melancholyinmusic #bestinflamesrecord #andersfriden #inflames #newalbum #upcomingrelease

Ok, let’s get some bands going on a hashtag here and see if I can pick up some more #metal followers; #InFlames #LambOfGod #ArchEnemy #SleepToken #BuryTomorrow #Godsmack #ZealandAdor #Gojira #DevinTownsend #BobVylan #AmigoTheDevil #CoheedandCambria #OfVirtue #MillieMandersAndTheShutUp #ParkwayDrive #AliceInChains just to name a few…