#inter-arma — Public Fediverse posts

Tombs – Feral Darkness Review

By Kenstrosity

This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness.

Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.

It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.

With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.

Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025

#2025 #30 #AmericanMetal #BlackMetal #BlackRoyal #FeralDarkness #Hardcore #InterArma #Mastodon #Oathbreaker #Oct25 #PostMetal #RedefiningDarkness #Review #Reviews #Sludge #SludgeMetal #SulphurAeon #Tombs

Modder – Destroying Ourselves for a Place in the Sun Review

By Grin Reaper

Blending sludge metal and electronica make for fascinating bedfellows, and that’s exactly what instrumental outfit Modder brings to the table with Destroying Ourselves for a Place in the Sun. I don’t recall encountering this genre combo before, but the unlikely pairing fits together in compelling and novel ways. Destroying Ourselves for a Place in the Sun is one part early Mastodon and one part The Prodigy, and it works better in practice than I’d ever expect it to on paper. Both styles embrace the bottom end, and in a live setting, I imagine Modder is unapologetically crushing. But it takes more than novelty to guarantee a grand time, so let’s dig in and see what goodies this Belgian quintet serves up.1

Though third outing Destroying Ourselves for a Place in the Sun unites sludge and dance, it wasn’t always so, as Modder has evolved with each release. On their self-titled debut, Modder trod the well-worn doom path with low-end crunch and abundant fuzz, recalling Sleep and Electric Wizard. Sophomore album The Great Liberation Through Hearing injected quicker paces and subdued attitudes, delivering a rich variety of textures that plays like Inter Arma sans vocals. Destroying Ourselves for a Place in the Sun continues the evolution of Modder’s sound, this time embracing dance-ready pulses and electronic trappings that occasionally approach Fear Factory’s Remanufacture (“Chaoism”). It’s a direction hinted at on The Great Liberation Through Hearing, but here Modder triumphs in fully fleshing it out.

On Destroying Ourselves for a Place in the Sun, Modder succeeds in evoking an assortment of influences while maintaining the band’s distinct identity. From the Korn-fed intro of “Stone Eternal” to the Gojira-glazed grooves of “In the Sun,” the album packs a broad range of sounds into its forty-two minutes. Each one of the album’s six tracks brings unerringly heavy riffs. “Mather” begins with a Prodigy-induced flourish, then drops into a disgustingly dense lurch that shakes the room like a herd of mammoths tromping past. Guitars, bass, and electronics weave an intricate tapestry, with melodies and countermelodies coalescing into grooves thicker than a bowl of oatmeal (“Stone Eternal,” “Mutant Body Double”). The drumming flits and hammers, with actual and programmed drums enabling quick shifts between sludge and breakbeat (“Chaoism”). This five-piece flaunts chops, and they pack them into an easily digestible package.

Even if Modder’s latest is a barrel of fun, its imperfections hold it back from greener pastures. For starters, the mix is distractingly crowded. I suspect the goal was to create a concussive bombshell that rattles listeners to the core. While effective on that front, there are times when the sludgy crunch warps into over-compressed artifacts (“Stone Eternal,” “Mather”). This may be a challenge with the merger of styles, where the electronic elements don’t require the auditory depth needed to express the timbre of acoustic drums or bass. Instead, the music gets rammed through the aural equivalent of Fat Man’s Squeeze, coming out the other side flat and jarring. Another issue with Destroying Ourselves for a Place in the Sun is immediacy. Both sludge and dance emanate a hypnotic sheen onto their styles, whether through towering, droning riffs or persistent electro-throbs. This makes great music for focusing on other tasks, but rarely did I stay engaged for an entire listen. If the goal is to surpass the novelty of instrumental electrosludge, something more is needed. As it is, Modder has strung together fun moments without enough cohesion. If you remove one of the songs or reorder them, the end result doesn’t change substantially, indicating that the whole is no greater than the sum of its parts.

Destroying Ourselves for a Place in the Sun is a study in cross-genre pollination that bears fruit worth sampling, but won’t sustain you for long. I really like the idea of what Modder has concocted, but the album would have benefited from further refinement. A more dynamic mix would immediately boost listenability, and upping their songwriting game could help push their brand of electrosludge past the point of novelty and into territory with more active engagement and longevity. Modder oozes potential, but there’s ultimately not enough on Destroying Ourselves for a Place in the Sun to keep me coming back.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kpbs mp3
Label: Consouling Sounds / Lay Bare Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: October 3rd, 2025

#25 #2025 #BelgiumMetal #ConSoulingSounds #ConsoulingSoundsRecords #DestroyingOurselvesForAPlaceInTheSun #ElectricWizard #ElectronicDanceMusic #ElectronicMetal #Electronica #ElectronicaMetal #Electrosludge #FearFactory #Gojira #InstrumentalMetal #InterArma #Korn #LayBareRecordings #Mastodon #Modder #Oct25 #Prodigy #Psychedelic #Review #Reviews #Sleep #Sludge #SludgeMetal #TheProdigy

Carcharodon and Cherd’s Top Ten(ish) of 2024

By Carcharodon

Carcharodon

I’ve been writing here since 2018. This has been the hardest year to date. I feel like I say this every year right around this time but, for whatever reason, I’ve really struggled this year to find the motivation and inspiration to write. Indeed, I’ve often felt that I lacked the passion for the music. Rather than exploring the murkier depths of Bandcamp, I was often to be found in the company of old, non-metal friends like Nick Cave, 16 Horsepower and Tom Waits.

Despite my disappointment with the world, most of which is on literal or metaphorical fire, and my disillusionment with people, whose choices have caused most of that, there were bright glimmers. The phenomenal response to our Gondor-esque call for aid, when Kenstrosity‘s life was ripped apart by Hurricane Helene, reassured me there are still a few good people out there, a good number of whom read this blog.

Still, I managed to turn out a few reviews this year, including my first ever 5.0—more of which below—which was worth it for the Steel Ire it evoked alone. And there was the Fifteenalia, a celebration the like of which we will not see again (for obvious reasons), which I had the honour of steering from questionable inception to creaky delivery.

Ironically, despite my struggles on the writing front, This Place has played a significant part in keeping me sane. It’s been tolerable to welcome a few new staffers—some even raised up from the awful Place Below—to our serried ranks, while the older hands feel almost like family at this point, with everything that that entails. As ever, particular thanks go to Steel Druhm for his tireless intimidation, which just about keeps us honest, while Dolph, Dear Hollow, El Cuervo, Grier, Maddog, Sentynel and Thus Spoke, among others, have proved adequate companions for banter and gigs.

And with that, I wish you all the happiest of Listurnalias.

#ish. Pillar of Light // Caldera – A very late entry to this list, Pillar of Light should be a cautionary tale to bands and labels: release your shit earlier! With more time, the stunning Amenra-meets-Cult of Luna post-misery of Caldera could easily have placed in the top half of this list. While I know this is an album I will come to love and fully expect to regret not placing it higher here, the reality is that other entries have had longer to sink their hooks into me. I will just say that, for me, the apparently divisive vocals are a perfect fit for Pillar of Light’s style.

#10. Seth // La France des Maudits – Way back when,1 French black metallers Seth snuck onto my list of Honorable Mentions with La Morsure du Christ, a fantastic return to form after a lengthy absence. After a short gap, they’re back and this year’s La France des Maudits has cracked the list proper. Melodic, bordering on symphonic with the keys and choral arrangements, but also visceral and feral, Seth dropped an absolute banger. It doesn’t hurt that, as Thus Spoke pointed out in her review, it’s “downright impressive how rich and dynamic this sounds.”

#9. The Vision Bleak // Weird Tales – The Vision Bleak is not, to paraphrase Dr Grier, a band that has ever ‘got’ me. Or perhaps, I’ve never got them. But Weird Tales resonated with me enormously. And perhaps that’s because it’s not really like anything The Vision Bleak has done before. Structuring their gothic black metal (or should that be blackened goth metal?) into a single, flowing song (albeit one broken into parts) got my attention. But they held my attention because they actually managed to pull off this very-hard-to-execute vision. Weird Tales’ Type O Negative / Moonspell-inspired blackened sound clicked into place almost instantly for me and now I need to go back to TVB’s discography with newly-opened eyes.

#8. Necrowretch // Swords of Dajjal – The first 4.0 I delivered in an alarmingly high-scoring year, Necrowretch’s black-death fusion is something that I have returned to again. Hiding beneath the vicious, downright nasty surface of Swords of Dajjal, is a surprisingly subtle and well-crafted concept album. As I said in my review, there is zero bloat or filler on this record, which blazes with intensity, driven as much by the scything, razor-sharp riffs as the rasping, sepulchral vocals. The range of influences cited, both by me and by impressed commenters, shows how many different aspects there are to this killer record.

#7. Panzerfaust // The Suns of Perdition – Chapter IV: To Shadow Zion – After Chapter III: The Astral Drain, I was worried that Panzerfaust were running out of steam and inspiration to close out The Suns of Perdition saga. Thankfully, my concerns were misplaced. To Shadow Zion reeks of doom and destiny. Huge, brooding and intense, it is a captivating listen, with the stunning “The Damascene Conversions” sitting at its heart. From the sulfuric vocals to the masterful drumming, this was a worthy final chapter for The Suns of Perdition, which must go down as one of the best executed, most consistent multi-album concept pieces in metal.

#6. Spectral Wound // Songs of Blood and Mire – Spectral Wound just can’t miss. For a band that, superficially at least, plays fairly old school black metal, songwriting chops paired with brilliant execution mean these guys are anything but derivative. My favourite album of theirs to date, Songs of Blood and Mire is just tons of wicked, nasty fun. It’s hard to say exactly why, but I feel like everything Spectral Wound does has a slight knowing wink to it, which suggests that the band doesn’t take itself too seriously. For me, this is a huge positive, as a lot of black metal is so tediously earnest, where this is unflinchingly harsh, surprisingly melodic and drowning in swaggering groove. Great stuff.

#5. Mother of Graves // The Periapt of Absence – I’m a sucker for death doom. And The Periapt of Absence is some fucking great death doom. Mother of Graves were unknown to me before I stumbled across this album but their blending of old school Opeth (think somewhere between Morningrise and Orchid) with early Katatonia and Paradise Lost, plus a sprinkling of Clouds is stunning. All wrapped up in a pleasingly tight package, Mother of Graves smother the listener in unflinching, heartwrenching misery. And I love every minute of it. It’s that Peaceville Three sound we love, but feeling fresh, vibrant and vital.

#4. Devenial Verdict // Blessing of Despair – Me and death metal don’t always see eye to eye, and the last Devenial Verdict left only a passing impression. But Thus Spoke‘s tireless tongue-bathing promotion of Blessing of Despair convinced me to give it a chance. While I enjoy the stomping thuggery of Devenial Verdict’s dissonant death well enough, it’s the sudden mood swings into what TS described as “lethally graceful restraint” that really hooked me. Although worlds apart stylistically, on Blessing of Despair DV achieved what Chained to the Bottom of the Ocean did on Obsession Destruction: knowing precisely how far to push the suffocating, claustrophobic heaviness, before taking their foot off your throat for a minute. Then stamping on it again.

#3. Julie Christmas // Ridiculous and Full of Blood – Maddog predicted that I would lambast him as an underrating bastard for the 3.5 he deigned to award Ms Christmas. And he was quite correct. He’s a charlatan of the highest order. However, even I’m surprised by how high Ridiculous and Full of Blood has landed here. But, as someone not given to overly emotional reactions to music, I’m continually stunned by the reactions Julie—Can I call you Julie? No? Ok—extracts from me. I’m often on the edge of tears by the end of “The Lighthouse,” just like that cad Maddog, while the likes of “Not Enough” and “End of the World” (the latter with CoL’s Johannes Persson) have a scary edge to them, with Christmas at her maniacal, crooning, possessed, unpredictable best.

#2. A Swarm of the Sun // An Empire – Speaking of emotional responses, A Swarm of the Sun’s stripped back melancholy is right up there. If I say that An Empire is brighter and more uplifting than previous efforts The Rifts and The Woods, understand that this is a very relative statement. An Empire is drowning in sorrow and misery, and yet there is just a hint of brightness that shimmers and hovers around the edges, like a lunar halo. Slow and deliberate, haunting and cathartic, A Swarm of the Sun’s latest outing is just beautiful. End of. No discussion.2

#1. Kanonenfieber // Die Urkatastrophe – Y’all know I dropped a 5.0 on Die Urkatastophe, so it’s no surprise to find it here, sitting pretty, atop my list. There’s not much more praise that I can heap on Kanonenfieber’s sophomore record than I already did in my review. For me, it has everything and is more than I dared hope for as a follow up to my beloved Menschenmühle (my album of the year for 2021). It is brutal and vicious (“Panzerhenker” and “Ausblutingsschlacht”), anthemic (“Der Maulwurf” and “Menschenmühle”) and more. Crafted—and yes, that is the correct word—with huge skill and attention to detail, it is the storytelling, based on original source materials, that elevates this record to the next level for me. And if you don’t speak German, or are simply not into narrative in your metal, just go bang your fucking head to “Gott mit der Kavallerie”!

Honorable mentions In alphabetical order by band:

• 40 Watt Sun // Little Weight – Little Weight actually carries a lot of emotional weight. Melancholic, beautiful post-doom and shoegaze, rife with a rough honesty.
• Anciients // Beyond the Reach of the Sun – Long-form (arguably too-long-form in some respects) progressive death, which is wonderfully ambitious and overblown in its scale and delivery.
• Crypt Sermon // The Stygian Rose – Fantastic trad doom, channeling heavy doses of Candlemass. Early in the year, I thought this was top-5 material but it’s uneven, with the back half much stronger than the front, and I’ve cooled on it a touch.
• Nyktophobia // To the Stars – Just great, stomping melodeath. As I said in my review, it’s not massively original but it’s tight and well written, and easy to just kick back to. Sometimes, I don’t need more.
• Silhouette // Les Dires de l’​Â​me – This fantastic post-black album had a place on the list proper until Pillar of Light bulldozed its way in there very late in the day. Haunting, harrowing and beautiful, Silhouette’s debut is Great!
• Sumac // The Healer – Nothing about The Healer makes it an easy listen but Sumac’s fifth record is curiously beautiful for all its wandering, free-form abrasiveness.
• Vorga // Beyond the Palest Star – While it’s hard to disagree with Kenstrosity‘s criticism of the production on Beyond the Palest Star, what can I say? I still love it. It’s chunky, well written, well paced and powerful.

Surprises o’ the Year Ordered by most astounding first:

• Opeth // The Last Will and Testament – It’s been a long time since I was last genuinely interested in an Opeth album (2005’s Ghost Reveries, in case you were wondering). But, wouldn’t you just know it, Mikael Åkerfeldt and co are back (roars and all). I’m not ready to commit to a score for The Last Will (though I think El Cuervo‘s was possibly a smidge high) as I’ve not been able to spend enough time with it. But the fact I want to spend more time with it is, after 19 years of having no interest in Opeth’s output, a surprise. And a welcome one.
• Grand Magus // Sunraven – Another Swedish favourite of old, which I’d all but given up on, Grand Magus roared back this year with Sunraven. As an equally surprised Steel Druhm said in his review, this was the album he “feverishly hoped to get from Grand Magus … a grand return to prime form with the fire firmly back in the Balrog … the best Magus outing since 2012’s The Hunt”.

Disappointment o’ the Year Limited to a single musical disappointment, to avoid submitting a lengthy thesis:

• Zeal & Ardor // GREIF – I’m not angry, or even very surprised, just disappointed.3 While I accept that this is the album of a band in transition, there’s no getting away from the fact that it was a hugely disappointing album from a band that has abandoned the sound that made it what it was. And for what? They have not transitioned to something new and exciting, but with kinks to be worked out. Rather, on this record, Zeal & Ardor became something so pedestrian that any number of post-rock bands could’ve written it and, probably, done a better job. I may have overrated it.

Songs o’ the Year

1. Julie Christmas – “The Lighthouse”
2. Kanonenfieber – “Der Maulwurf”
3. Selbst – “The Stench of a Dead Spirit”
4. Panzerfaust – “The Damascene Conversions”
5. Kanonenfieber – “Gott mit der Kavallerie”
6. Devenial Verdict – “Garden of Eyes”
7. Spectral Wound – “Aristocratic Suicidal Black Metal”
8. Silhouette – “Les Dires de l’​Â​me”
9. Blue Heron – “Everything Fades”
10. Zeal & Ardor – “Hide in Shade”
11. Glare of the Sun – “Rain”

Cherd

Twenty-twenty-four was certainly a year that followed previous years and will precede still others. When I look back, I’ll likely remember it as the year I discovered the wonders of ADHD medication after decades of non-treatment, the difficult transition my poor Cherdlet experienced from kindergarten to first grade, and the incredible bucket list trip my wife and I took to Toronto to watch our favorite TV franchise filming new content courtesy of my very important Hollywood connections. No, not Robert Downey Jr. Much more important and better-looking. Hmm? Margot Robbie? She wishes. I also had the pleasure of meeting several of my fellow writers in person, and they are all much homelier than they let on with the exception of Madam X, who is a goddamned ray of sunshine.

On the musical front, I was able to check two bands off my “need to see live” list in Judas Priest and Archspire, whereby I discovered that Halford does exactly zero audience banter, and Archspire do nothing but. Fun shows, both. I didn’t listen to as much new music by volume this year than I have in previous years when I’d log between 200 and 400 releases, and that was largely due to my kid’s age and the level of interaction he needs. I have a feeling, however, that 2025 will see an uptick thanks to the new Heavys headphones I got for Christmas this year. As always, I want to thank the editors, particularly Steel Druhm and Doc Grier, for not sending me a mailbomb after all the late reviews I turned in (I’ll work on that in 2025), and the man himself, AMG, for building this community and for agreeing that Deep Space Nine is the best Star Trek show.4

(ish) Chat Pile // Cool World – This is what it sounds like when Chat Pile make a “mature” record. As I noted in my October review, some of the most glaring weirdness and black humor the band is known for is missing in Cool World, which is why it’s here on my list instead of matching the lofty heights of my 2022 AOTY God’s Country. That said, this is consistently bleak in a way I like, and it boasts what are in my opinion the two best–if not most memorable–songs the band have written to date in “New World” and “Masc.” I’m a sucker for these Oklahomans and look forward to how their sound evolves from here.

#10. Glacial Tomb // Lightless Expanse – I’ve had an up and down journey with Glacial Tomb’s sophomore record, but that doesn’t mean I don’t still view this as one of the best things I’ve listened to this year. To consider a record this closely means you have to listen to it a lot, and I wouldn’t be surprised if I logged more hours with Lightless Expanse than with any other album. I’ve made a big deal about the one-three punch of “Voidwomb/Enshrined in Concrete/Abyssal Host”, but it bears repeating since it’s my favorite consecutive stretch of death metal in 2024.

#9. Replicant // Infinite Mortality – If you peel back the veneer of disso-death and blackened blasts on Infinite Mortality, you’ll find a pounding hardcore heart comprised of equal parts beatdown and Converge. As technical as this music gets, and there is a lot going on here, Replicant never forget their primary duty as a metal band: snapping necks. On their third album, they’ve exquisitely composed a missive to unbridled aggression. I completely missed their previous albums, so I’m glad our Kenfren wouldn’t shut his excitable yap about this one.

#8. Spectral Voice // Sparagmos – “Alright skaters! This is the end of our free skate period. We’d like to once again thank you for spending your Saturday with us here at Family Fun Roller Rink and Arcade. It’s time to slow things down, down, way down, and you know what that means. That’s right, it’s couples’ skate. So, find that special someone you want to be interred on a cold stone slab with, gaze into each other’s empty eye sockets, and make your way around the rink as wave after wave of Spectral Voice’s death/funeral doom forcefully separates you from any light, hope, or happiness this wretched world might have accidentally given you. Remember, those who survive the next 45 minutes of tectonic plates colliding will get the chance to compete in roller limbo!”

#7. Crypt Sermon // The Stygian Rose – Despite being one of the biggest doom apologists on this site, Crypt Sermon failed to grab me with their highly acclaimed debut nearly ten years ago. I chalk this up to my unfamiliarity with the traditional doom style at the time. In recent years, I’ve binged large amounts of Candlemass, Saint Vitus, Cathedral, Solitude Aeturnus et al., so I finally have the frame of reference to see just how well Crypt Sermon’s third LP captures the swagger, majesty, and grit of a style few contemporary bands seem interested in playing. After the growing pains displayed on The Ruins of Fading Light, these Philly natives have worked out the kinks and delivered an air-tight slab of doomy goodness.

#6. Full of Hell // Coagulated Bliss – I regret waiving my seniority claim to Full of Hell releases, thus allowing Dolph to snap up review duties for Coagulated Bliss. It’s not that he did a bad job of reviewing the prolific experimental grind outfit’s latest. He did great, and he awarded it a deserved 4.0. But then he had the cheek, the nerve, the gall, the audacity, and the gumption to incorrectly lower his score. To make matters worse, it appeared nowhere on his year-end list. Not even a goll dern honorable mention. I’ve told him to his cetacean face that he’s wrong and I’m likely to do so again because this is Full of Hell’s best work since Trumpeting Ecstasy. In fact, it might be better.

#5. Ulcerate // Cutting the Throat of God – For most of their existence, Ulcerate was a highly acclaimed band that I just couldn’t get into. That changed four years ago with the release of Stare into Death and Be Still. Little changed in their intricate approach to dissonant death metal, but there was something warmer and more human to what I had previously considered a rather detached style. That trend continues with Cutting the Throat of God. I find this record best when taken as a whole, letting the experience unfold over the full runtime, like dream-walking through a hedge maze or being trapped in a velvet sack and discovering it’s much larger on the inside.5

#4. Thou // Umbilical – I waited a long time for a chance to review a new record by Thou, and when it finally came, they did not disappoint. As I said in my June review, “Like their chimerical American metal brethren Inter Arma, it doesn’t matter how many influences the band stuff into one album. They are all unified in sound under Thou’s banner. Bryan Funck’s acid-bit vocals are unmistakable and apparently unchangeable after 20 throat-shredding years. Also unchangeable? Thou’s ability to craft the most metallic-sounding guitar tone out there. As the standard bearer for…hell, as the entire sum of the second generation of Louisiana sludge, the sound they’ve forged isn’t the kind of sloppy muck you may associate with the term. It’s certainly thick, but it has a quality like two enormous steel I-beams violently striking each other.” If that doesn’t sell Umbilical for you, then here is where our paths diverge.

#3. Devenial Verdict // Blessing of Despair – I didn’t listen to Blessing of Despair for several weeks after it came out in October despite the fact Devenial Verdict’s previous record, Ash Blind, made my year-end list in 2022. When I finally got around to it earlier in December, it threatened to blow the doors right off my still nebulous list, climbing fast and high until ultimately landing here at number three. There is more immediacy than on Ash Blind, which took me a while to warm up to. That doesn’t mean the band skimps on the kind of thoughtful transitions and atmospherics they’ve come to be known for. It’s just that Blessing of Despair HAZ THE RIFFS, including my favorite death metal riff of the year in “Solus.”

#2. Void Witch // Horripilating Presence – When I revisited Horripilating Presence with the purpose of sorting out this list’s pecking order, I expected death-doomers Void Witch to fall mid-to-late top 10. Obviously, the opposite happened. For the life of me I don’t understand how this album didn’t gain more traction amongst the other writers and you, the unwashed commentariat. As I said back in July, “…the material on Horripilating Presence is Mohamed Ali levels of confident. The editing of ideas in each song and across the album’s taut 39 minutes is masterful, especially for a debut. No song hews too closely to any of the others, but all are of a piece, locking comfortably into place like an intricate puzzle box, and Void Witch have such sights to show you.”

#1. Inter Arma // New Heaven – Inter Arma never miss. Aside from being one of the best live acts in metal, every album they’ve released going back to 2013’s Sky Burial has been one successful evolution after another. As a very wise reviewer once said, “They’re the same shaggy beast as ever, but beneath that matted, coarse coat is a rippling form mid-shape shift, stretching, pulling, and crossing back on itself constantly over the course of New Heaven’s shockingly concise 42 minutes…If being all over the musical map sounds like a negative, you’ve probably never heard an Inter Arma record before. It seems whatever they throw at the wall sticks, and the listening experience across their (usually much longer) records never feels uneven. This is because they play everything with the same smoldering intensity and volatile mean streak.” What a record.

Honorable Mentions:

• Convulsing // Perdurance – I like this quote from Dear Hollow‘s review, so I’ll let him do the talking: “…Convulsing explores every nook and twist of a rhythm and melody until its inevitable conclusion is happened upon in tragic and fatal fashion.”
• Spectral Wound // Songs of Blood and Mire – Pound for pound, Spectral Wound are probably the most consistent no-frills black metal band currently in operation. Songs of Blood and Mire is another rager that’s as melodic as it is acidic.
• Lord Buffalo // Holus Bolus – This record was one redundant instrumental away from landing higher on this list. Looking forward to where these gothic country rockers go next.

Songs o’ the Year:

In alphabetical order by band:

Show 5 footnotes

1. Apparently it was only 2021 but my goodness that feels a lifetime ago. ↩
2. Regrettably, I suspect this may be the perfect way to start a discussion. Sigh. ↩
3. Can you tell I’m a parent? ↩
4. How could anyone disagree? – AMG ↩
5. Like a TARDIS. ↩

#2024 #40WattSun #ASwarmOfTheSun #Anciients #BlogPosts #BlueHeron #CarcharodonAndCherdSTopTenIshOf2024 #ChatPile #Convulsing #CryptSermon #DevenialVerdict #FullOfHell #GlareOfTheSun #GrandMagus #InterArma #JulieChristmas #Kanonenfieber #Listurnalia #LordBuffalo #MotherOfGraves #Necrowretch #Nyktophobia #Opeth #Panzerfaust #PillarOfLight #Replicant #Selbst #Seth #Silhouette #SpectralVoice #SpectralWound #Sumac #TheVisionBleak #Thou #Ulcerate #VoidWitch #Vorga #ZealArdor

Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024

By Dolphin Whisperer

Dolphin Whisperer

Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.

As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.

2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.

#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.

#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3

#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.

#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]

#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.

#6. Defeated Sanity // Chronicles of Lunacy – As an apex predator in the brutal death metal world, Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought. Chronicles of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.

#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.

#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.

#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”

#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.

#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.

Honorable Mentions:

• • Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
  • Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
  • Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than D​ø​dsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
  • Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
  • Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
  • Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
  • Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
  • Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
  • Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.

Disappointments o’ the Year:

• Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
• Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
• Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.

Songs o’ the Year:

Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.

Coconut (left), Kiwi (right) in a stylish Adidog sweater.

Ferox

I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.

One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6

I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.

#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.

#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.

#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.

#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.

#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.

#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.

#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.

#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.

#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.

#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.

#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.

Honorable Mentions:

• • • Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
    • Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
    • Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.

Disappointment o’the Year:

Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.

Song o’the Year:

Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7

Show 7 footnotes

1. Whose very good outing is another in a long line of successes. Old Eyes, New Heart missing the cut should ring testament to how wonderful 2024 has been. ↩
2. In case you don’t know, Ampwall is a music e-commerce hub built by members of Woe as an alternative experience to Bandcamp. Vowing to maintain an artist-first and community-influenced direction, Ampwall holds a lot of promise to the musical underground. And the whole Dawnwalker discography digitally! ↩
3. Seems like a 4.0 innit. ilu Twelve. <3 ↩
4. Former Mamaleek keys maestro Eric Livingston. RIP. ↩
5. Pain of Salvation, feel free to read this and prove me a liar. ↩
6. It was Grier, right? – Steel ↩
7. Who would do such a thing? Surely, if one were to commit such a heinous act, they’d at least provide a cute dog picture to atone. – Dolph ↩

#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty

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DREAMLESS VEIL (INTER ARMA, PSYCROPTIC, Etc.) Streams New Single "Cyanide Mind"

https://metalinjection.net/new-music/dreamless-veil-inter-arma-psycroptic-etc-streams-new-single-cyanide-mind

#DreamlessVeil #InterArma #Psycroptic #ArtificialBrain

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single “Cyanide Mine”

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-cyanide-mine

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single "Saturnism"; Audio

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-saturnism-audio

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members To Release Debut Album In September; First Single Streaming

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-to-release-debut-album-in-september-first-single-streaming

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

Saw one of my favorites at the Star Theater tonight – #InterArma CRUSHED. incredible band, wonderful venue – my first time there, somehow!

Can’t wait to see #InterArma again in July – finally coming back to Portland to open for #Pallbearer!

Another fantastic interview from #KimKelly’s new magazine project #Salvo – this time it’s with T.J. Childers, the song writing drummer from #InterArma. 🖤

https://salvo.ghost.io/inter-arma-tj-new-heaven-interview-2024/

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Album Review: INTER ARMA New Heaven
"This album isn't one for genre purists, but lovers of pure expression created by people with a deep understanding of multiple types of music."

https://metalinjection.net/reviews/album-review-inter-arma-new-heaven

#interarma #newheaven #albumreview #heavymusic #experimentalblackmetal #diverseinterests #neofolk

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The Weekly Injection: New Releases From DARKTHRONE, DEICIDE & More Out Today 4/26
Plus releases from Full Of Hell, Glassing, Harvestman, Inter Arma, Ou, and Glassing.

https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-darkthrone-deicide-more-out-today-4-26

#darkthrone #deicide #fullofhell #glassing #harvestman #interarma #ou #stvincent

My colleague talked with InterArma’s T.J. Childers about how to create insane levels of intensity on stage, about their upcoming album “New Heaven” – and about starting a career as a drummer at the age of three.

https://www.woxx.lu/t-j-childers-inter-armas-drummer-im-there-for-the-riff/

#metal #InterArma #drums #drummer #Roadburn #roadburnfestival

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KNOCKED LOOSE, INTER ARMA, BORN OF OSIRIS, DEMON HUNTER & More Among Metal Injection's Weekly Top Tracks
Plus new ones from Horndal, Coffins, Civerous, and more!

https://metalinjection.net/playlist/top-tracks-of-the-week-playlist/knocked-loose-inter-arma-born-of-osiris-demon-hunter-more-among-metal-injections-weekly-top-tracks

#KnockedLoose #InterArma #BornOfOsiris #DemonHunter #Metalinjection #TopTracks #WeeklyPlaylist