#jethrotull — Public Fediverse posts

Ian Anderson’s opinion on Pink Floyd’s Roger Waters

https://rockandrollgarage.com/ian-anderson-opinion-on-pink-floyds-roger-waters/

#iananderson #jethrotull #pinkfloyd #rogerwaters #rock #music

https://www.europesays.com/at/130721/ Phakt: Album „Ten Pictures“ vereint Rock und Kunstprojekt #AT #Austria #DeepPurple #Entertainment #HartmutRichter #JethroTull #KlausHoffmann #Music #Musik #Musikgruppe #Neumünster #Österreich #RockPop #ThomasSchmidt #Tournee #Unterhaltung #UriahHeep

Heavy Horses

Heavy Horses, released on April 10, 1977, is the middle album of Jethro Tull's folk-rock trilogy. Its bookends are Songs From The Wood (1977) and Stormwatch (1979). The title track was one of the band's long-standing concert faves. Check out Heavy Horses (2003 Remaster) by Jethro Tull on Amazon Music #jethrotull #heavyhorses #70srock #rock #rockmusic #folkrock #progrock #music #musicsky #musiciansky #iananderson

https://robinbannks.com/2026/04/10/heavy-horses/

Heavy Horses

Heavy Horses, released on April 10, 1977, is the middle album of Jethro Tull's folk-rock trilogy. Its bookends are Songs From The Wood (1977) and Stormwatch (1979). The title track was one of the band's long-standing concert faves. Check out Heavy Horses (2003 Remaster) by Jethro Tull on Amazon Music #jethrotull #heavyhorses #70srock #rock #rockmusic #folkrock #progrock #music #musicsky #musiciansky #iananderson

https://robinbannks.com/2026/04/10/heavy-horses/

Heavy Horses

Heavy Horses, released on April 10, 1977, is the middle album of Jethro Tull's folk-rock trilogy. Its bookends are Songs From The Wood (1977) and Stormwatch (1979). The title track was one of the band's long-standing concert faves. Check out Heavy Horses (2003 Remaster) by Jethro Tull on Amazon Music #jethrotull #heavyhorses #70srock #rock #rockmusic #folkrock #progrock #music #musicsky #musiciansky #iananderson

https://robinbannks.com/2026/04/10/heavy-horses/

Heavy Horses

Heavy Horses, released on April 10, 1977, is the middle album of Jethro Tull's folk-rock trilogy. Its bookends are Songs From The Wood (1977) and Stormwatch (1979). The title track was one of the band's long-standing concert faves. Check out Heavy Horses (2003 Remaster) by Jethro Tull on Amazon Music #jethrotull #heavyhorses #70srock #rock #rockmusic #folkrock #progrock #music #musicsky #musiciansky #iananderson

https://robinbannks.com/2026/04/10/heavy-horses/

https://www.europesays.com/uk/868235/ Chalice – Divine Spear Review #2026 #30 #Chalice #DivineSpear #DyingVictimsProductions #Entertainment #Feb26 #FinnishMetal #HeavyMetal #IronMaiden #JethroTull #music #PinkFloyd #Review #Reviews #Tyr #UK #UnitedKingdom

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

1/2

Here is an adult Wood Stork, the only type of stork found in North America. Strong beak, strong flyer.

Seen here doing that stork thing (standing on one leg), famously borrowed by equally well-balanced Ian Anderson.

(see comment below)

#WoodStork #birds #Fenfotos #waterbird #Photography #nature #JethroTull #IanAnderson #storks #music #musica #musique #musik #naturephotography

Recensie: Jethro Tull – Aqualung Live (Remaster 2025) ★★★★
https://writteninmusic.com/albumrecensie/jethro-tull-aqualung-live-remaster-2025/

#Music #Rock #JethroTull #InsideOut/SonyMusic #SonyMusic

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

"Bungle in the Jungle" is a song by British progressive #rock band #JethroTull. It was released on their album #WarChild in 1974. A remnant from the band's abandoned "#ChateauDIsasterTapes", "Bungle in the Jungle" features lyrics based on analogies between animals and humans. The song was later released as a single, becoming a top 20 hit in the United States and top 5 in Canada. Despite the song's American success, Anderson saw the song as too commercial.
https://www.youtube.com/watch?v=7y51bpWl_hY

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

#IanAnderson

#JethroTull

#Flûte

#RockProgressif

#Socialmedia

https://www.youtube.com/watch?v=WsL2I_Fwor8&list=RDEMRkG89e5InYIHzHL5UTyeSg&start_radio=1&rv=2u0XXpVGUwk

Entertainment calendar for April 24-30 https://www.byteseu.com/949514/ #center #county #Entertainment #events #EventsU0026Listings #expo #Jethro #JethroTull #john #JohnLennon #lennon #Listings #local #LocalNews #Lovett #Lyle #LyleLovett #News #Ono #Overall #OverallPositive #Pa #Positive #trains #Tull #u0026 #Yoko #YokoOno #york #YorkCounty #YorkExpoCenter

“Flying so high, trying to remember … how many cigarettes did I bring along.”

Jethro Tull release their third album, Benefit ~ April 20, 1970. Ian Anderson said that he considers Benefit a much darker album than Stand Up, owing to the pressures of an extensive U.S. tour and frustration with the music business. Listen to Benefit by Jethro Tull on Amazon Music #jethrotull #benefit #rock #rockmusic #70smusic #music #musicsky #musiciansky #baroquerock #progressiverock…

https://robinbannks.wordpress.com/2025/04/20/flying-so-high-trying-to-remember-how-many-cigarettes-did-i-bring-along/

https://recordsalbums.com/jethro-tull-vinyl-records-albums-lps/2030-jethro-tull-a-vinyl-lp-record-for-sale.html Jethro Tull - A Vinyl LP Record #Jethro #Tull #JethroTull #JethroTullVinylRecords #JethroTullVinyl #JethroTullRecords #JethroTullLPs #JethroTullAlbums #TullVinyl #TullLPs #TullAlbums #TullRecords #ClassicRock #Rock #RockMusic #ClassicRockMusic #ClassicRockVinylRecords #ClassicRockVinyl #ClassicRockRecords #ClassicRockAlbums #ClassicRockLPs #ClassicRockCollectibles #Rock #RockRecords #RockAlbums #RockLPs #RockVinyl #RockCollectibles #RockMemorabilia #ClassicRockMemorabilia

📌‘Curious Ruminant’: La nueva obra maestra de Jethro Tull
📌BYD superará a Tesla?, los números nos dan la respuesta. Esta es una de sus armas secretas
📌Unos geólogos descubren en Australia el cráter de impacto más antiguo de la Tierra: tiene más de 3.500 millones de años
📌‘Razas de Perro, Pasado y Presente’: rica historia, evolución y diversidad de las razas caninas
📌... Y MÁS ....
https://carabanchel.net
#Carabanchel #Madrid #CuriousRuminant #IanAnderson #JethroTull #progrockeros #rock
#cocheselectricos #supercargadores #Tesla #Byd #teslaVsbyd #trump #aranceles #Changsha #megabarcos #Shenzhen
#davidfernandezrey #ebook #libro #razascaninas #RazasdePerroPasadoyPresente
#australia #crater #geólogos #Pilbara

📌‘Curious Ruminant’: La nueva obra maestra de Jethro Tull
📌BYD superará a Tesla?, los números nos dan la respuesta. Esta es una de sus armas secretas
📌Unos geólogos descubren en Australia el cráter de impacto más antiguo de la Tierra: tiene más de 3.500 millones de años
📌‘Razas de Perro, Pasado y Presente’: rica historia, evolución y diversidad de las razas caninas
📌... Y MÁS ....
https://carabanchel.net
#Carabanchel #Madrid #CuriousRuminant #IanAnderson #JethroTull #progrockeros #rock
#cocheselectricos #supercargadores #Tesla #Byd #teslaVsbyd #trump #aranceles #Changsha #megabarcos #Shenzhen
#davidfernandezrey #ebook #libro #razascaninas #RazasdePerroPasadoyPresente
#australia #crater #geólogos #Pilbara

📌‘Curious Ruminant’: La nueva obra maestra de Jethro Tull
📌BYD superará a Tesla?, los números nos dan la respuesta. Esta es una de sus armas secretas
📌Unos geólogos descubren en Australia el cráter de impacto más antiguo de la Tierra: tiene más de 3.500 millones de años
📌‘Razas de Perro, Pasado y Presente’: rica historia, evolución y diversidad de las razas caninas
📌... Y MÁS ....
https://carabanchel.net
#Carabanchel #Madrid #CuriousRuminant #IanAnderson #JethroTull #progrockeros #rock
#cocheselectricos #supercargadores #Tesla #Byd #teslaVsbyd #trump #aranceles #Changsha #megabarcos #Shenzhen
#davidfernandezrey #ebook #libro #razascaninas #RazasdePerroPasadoyPresente
#australia #crater #geólogos #Pilbara

📌‘Curious Ruminant’: La nueva obra maestra de Jethro Tull
📌BYD superará a Tesla?, los números nos dan la respuesta. Esta es una de sus armas secretas
📌Unos geólogos descubren en Australia el cráter de impacto más antiguo de la Tierra: tiene más de 3.500 millones de años
📌‘Razas de Perro, Pasado y Presente’: rica historia, evolución y diversidad de las razas caninas
📌... Y MÁS ....
https://carabanchel.net
#Carabanchel #Madrid #CuriousRuminant #IanAnderson #JethroTull #progrockeros #rock
#cocheselectricos #supercargadores #Tesla #Byd #teslaVsbyd #trump #aranceles #Changsha #megabarcos #Shenzhen
#davidfernandezrey #ebook #libro #razascaninas #RazasdePerroPasadoyPresente
#australia #crater #geólogos #Pilbara

#Música #Music #Musique #Rock #RollingStones #LiveMusic #RockAndRollCircus

The Rolling Stones Rock & Roll Circus (1968)

Si vous êtes en France ou si vous avez un VPN pour vous connecter au pays, ne manquez pas ce concert disponible jusqu'au 6 février. Les groupes invités : #JethroTull, #TheWho, #TajMajal, #MarianneFaithfull, #DirtyMac (c'est-à-dire #JohnLennon, #EricClapton, #KeithRichards et #MitchMitchell) et #YokoOno.

https://www.arte.tv/fr/videos/036985-000-A/the-rolling-stones-rock-and-roll-circus/

Damn... literally every single music video Costin Chioreanu animated is straight fire

https://www.youtube.com/playlist?list=PLewAQdcj_nK0IOdpCP1zSFkwqp7q5Jm6s

#CostinChioreanu #JethroTull #borknagar #progRock #metal #progMetal #musicVideo #animation

This actually worked. You can now follow @burningshed, an online music label and store specializing in #SingerSongwriter, #Progressive / #Prog, #Ambient / #Electronica and #ArtRock #music.

https://www.threads.net/@mjgardner/post/C-xolQcOAcH

They host the official online shops for #PorcupineTree, #Panegyric, #Kscope, #Ape (#AndyPartridge / #XTC), #NoMan, #JethroTull, #ThomasDolby, #MediumProductions (#SteveJansen, #RichardBarbieri, and #MickKarn — #JBK, #RainTreeCrow, #Japan), #Peaceville, #HatfieldAndTheNorth, et al.

💫🪐 FIND OUT WASS 'APPENIN'! 🪐💫
Tune in THIS SATURDAY at 9PM EST for WAWTC -
'Interview with Jethro Tull's Ian Anderson' + 'Divinities' !
LISTEN HERE 👉 https://s4.radio.co/s62c60f538/listen

#radio #jethrotull #iananderson #interviews #Divinities #holidayfare #slack #subgenius #slackvibes #slackradio #wawtc

💫🪐 FIND OUT WASS 'APPENIN'! 🪐💫
Tune in THIS SATURDAY at 9PM EST for WAWTC -
'Interview with Jethro Tull's Ian Anderson' + 'Divinities' !
LISTEN HERE 👉 https://s4.radio.co/s62c60f538/listen

#radio #jethrotull #iananderson #interviews #Divinities #holidayfare #slack #subgenius #slackvibes #slackradio #wawtc

💫🪐 FIND OUT WASS 'APPENIN'! 🪐💫
Tune in THIS SATURDAY at 9PM EST for WAWTC -
'Interview with Jethro Tull's Ian Anderson' + 'Divinities' !
LISTEN HERE 👉 https://s4.radio.co/s62c60f538/listen

#radio #jethrotull #iananderson #interviews #Divinities #holidayfare #slack #subgenius #slackvibes #slackradio #wawtc

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

Show 2 footnotes

1. Remember, they’re French, not English majors. ↩
2. This sounds like a horrible backhanded compliment, but when you’re making music this esoteric and long-winded, it’s unironically impressive. ↩

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Opeth share visualizer for “§4” featuring Jethro Tull’s Ian Anderson:

#Opeth #JethroTull #IanAnderson #Newsong #NewAlbum #NovemberReleases #TheLastWillandTestament

https://metalinsider.net/video/opeth-share-visualizer-for-%c2%a74-featuring-jethro-tulls-ian-anderson

Opeth – The Last Will and Testament Review

By El Cuervo

Little introduction is required for the progressive metal institution that is Sweden’s Opeth. In a career running over 30 years in length and spanning 13 previous studio albums, they have demonstrated an unending pursuit of progression by drawing in more influences as they’ve changed. From death metal to progressive rock to European folk to whimsical jazz, they have tracked a course that has always been fascinating, even if the quality has varied a little more than that. Reaching 2024, The Last Will and Testament is a remarkable record in a career full of remarkable records. It represents all of the following: the most overdue studio album, being released five years after its predecessor; the first release with the young but experienced Waltteri Väyrynen on drums; the return of harsh vocals for the first time in 16 years; and the first concept record since 1999’s Still Life.

Despite these remarkable qualities, The Last Will and Testament offers a smooth and natural progression from 2019’s In Cauda Venenum, but with discernible nods to other records in the Opeth discography. The first and most obvious reference is the progressive melodrama levered on Ghost Reveries and Watershed. The swinging passage from 1:30 on “§2”1 is effortlessly cool, layering groovy guitars and dramatic keyboards with spoken-word narration and a wild vibrato buried in the background. It recalls that specific era of death-influenced progressive metal, dripping with keyboard-generated atmosphere. The second core component of The Last Will and Testament’s sound is the heady compositions favored on In Cauda Venenum. That record featured varied, complex compositions but they’re too disparate. Those here are simultaneously sharper but also freer. “§4” bridges a soft flute interlude with a heavy guitar passage via a subtle drum crescendo, and despite the contrasting instrumentation, it’s smooth and cohesive in a way that few other bands can match. The musical continuity builds a sense of completeness, which is no doubt aided by the final influence in The Last Will and Testament’s sound: Still Life’s rich storytelling.

The album’s concept drives both the music and structure. The Last Will and Testament spins a yarn based around the administration of the estate of a wealthy man, replete with a seedy lawyer (entertainingly performed by Ian Anderson of Jethro Tull) and an imposing patriarch (given a voice through Mikael Åkerfeldt’s wrathful roar). The twisting tale of family intrigue and deception—including soap opera grudges and illicit children—is narrated across the first six tracks, before culminating in “§7” where Anderson delivers a deliciously-evil reading of the will to the unsuspecting beneficiaries. While this feels appropriately climactic, the final track “A Story Never Told” succeeds this chicanery with jarring clarity. It’s an excellent tonal shift, with Åkerfeldt’s clean singing layered over a simple piano melody that’s as simple as it is beautiful. While The Last Will and Testament twists and turns throughout, the opening to this track lifts the listener out of the mire of family drama2 and closes affairs with peacefulness.

But The Last Will and Testament’s most important quality is its sheer mastery. There’s no one else that writes music like this, and rarely so successfully. Every element of its core fusion of death metal and progressive rock is highly accomplished, from the knotty compositions to the polished performances to the immaculate production. As referenced earlier, In Cauda Venenum has a similar scope of instrumentation and intricate compositions. But they’re elevated here; more harmonious, more sophisticated, more artful. “§5” is a prime example. There’s a high degree of intricacy as it folds crisp drums, dancing bass lines, beautiful strings, darting vocals, and bluesy guitars into something that oscillates between subtle jazz and crunchy death metal. I love the natural lilt and the unexpected transitions.3 It’s busy and dense with textures, but the bold melodies and crystalline production prevent the material from sinking into murkiness. I’ll also commend “A Story Never Told” as one of the best songs of the year. Its organic swell from delicate piano melodies to the grand guitar solo concludes the album on an endlessly moreish note.

The Last Will and Testament doesn’t yield any weaknesses. On their fourteenth go-round, Opeth has once more delivered something exemplary in conception, performance, and production. The songs are varied but focused, feeling shorter and tighter than prior work. And while its story may not be as tragic as prior Opeth concepts, I admire the willingness to have some fun with it.4 Existing fans will no doubt gain much from this experience, and anyone with their interest limited to O(ld)peth may just find something here too. 2024 sees these Swedes finding a new harmony in their sound, and connoisseurs of progressive music mustn’t miss this.

Rating: 4.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Reigning Phoenix Music
Websites: opeth.com | facebook.com/opeth
Releases Worldwide: November 22nd, 2024

Show 4 footnotes

1. All tracks except the finale are titled as paragraphs within a will, hence the “§”. ↩
2. Above the mire, if you will. ↩
3. But while unexpected, the transitions are not jarring as was the case on Watershed or Heritage, where there was a sense that they were just linking things together at random in the studio and telling Per to play one note on the keyboard as an ‘excuse’ to justify a key change. Instead, The Last Will and Testament is crafted with the deliberate, artisanal expertise that Åkerfeldt demonstrated in his composition and arrangements for his entire career before 2008. – AMG ↩
4. And the growth that Åkerfeldt exemplified by accepting the lessons of In Cada Venenum; lyrics matter and they take real time and effort. The Last Will and Testament plays in genuine Concept Record territory in a way that makes it genuinely fun to listen to. It’s melodramatic and it’s sharp. – AMG ↩

#2024 #45 #DeathMetal #EnglishMetal #JethroTull #Nov24 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #TheLastWillAndTestament

https://youtu.be/XkJZOYqX6Wk?si=sDmu8bn54HsG1Qmz

#JethroTull #ThickAdABrick #cover #awsome

https://youtu.be/XkJZOYqX6Wk?si=sDmu8bn54HsG1Qmz

#JethroTull #ThickAdABrick #cover #awsome

Good morning friends! Today is National Truth and Reconciliation Day here in Canada. To start today, let’s skate away on a new day…

https://music.apple.com/ca/album/skating-away-on-the-thin-ice-of-the-new-day/699617148?i=699617888

#TruthAndReconciliationDay #NewDay #JethroTull #Canada

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Today In Metal History 🤘 September 10th, 2024🤘
AEROSMITH, KISS, JETHRO TULL, RUSH, KAMELOT

https://bravewords.com/news/today-in-metal-history-september-10th-2024-aerosmith-kiss-jethro-tull-rush-kamelot

#Aerosmith #KISS #JethroTull #RUSH #Kamelot #JoePerry #ChipZNuff #DonaldGeorgePowell #SLADE #ENUFFZNUFF

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Today In Metal History 🤘 August 10th, 2024🤘
JETHRO TULL, BLIND GUARDIAN, WINGER, WHITE LION, BLACK LABEL SOCIETY

https://bravewords.com/news/today-in-metal-history-august-10th-2024-jethro-tull-blind-guardian-winger-white-lion-black-label-society

#JethroTull #BlindGuardian #Winger #WhiteLion #BlackLabelSociety #IanScottAnderson #HansKursh #JeffKollman #Loudness #MachineHead #DarkTranquillity #LynyrdSkynyrd #TheBinaryCode #Crash #Chthonic #BondedByBlood #EnuffZnuff #Erra #MadMax #PrimalFear #SinSaenum #Infrared #BlindGuardian #Hammerfall #VanHalen #BadBrains

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Today In Metal History 🤘 August 4th, 2024🤘
RATT, RAINBOW, SOULFLY, SLAYER, TESTAMENT, DISMEMBER, DIMMU BORGIR

https://bravewords.com/news/today-in-metal-history-august-4th-2024ratt-rainbow-soulfly-slayer-testament-dismember-dimmu-borgir

#RATT #RAINBOW #SOULFLY #SLAYER #TESTAMENT #DISMEMBER #DIMMUBORGIR #RobbinCrosby #StefanKaufmann #MaxCavalera #RitchieBlackmore #ACCEPT #UDO #KILLERBEKILLED #SEPULTURA #DEEPPURPLE #POWERWOLF #PAULDIANNO #LUCIFERSHAMMER #JETHROTULL

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Today In Metal History 🤘 July 30th, 2024🤘ALICE IN CHAINS, DEF LEPPARD, BLIND GUARDIAN, FIVE FINGER DEATH PUNCH, DEE SNIDER

https://bravewords.com/news/today-in-metal-history-july-30th-2024alice-in-chains-def-leppard-blind-guardian-five-finger-death-punch-dee-snider

#AliceInChains #DefLeppard #BlindGuardian #FiveFingerDeathPunch #DeeSnider #TheRollingStones #SARSStock #JeffHammond #JethroTull #PaulDiAnno #LuciferHammer #Bridear #JethroTull #Laceration #Yes

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Today In Metal History 🤘 July 23rd, 2024🤘 NICK MENZA, SLASH, SAMMY HAGAR, THE WINERY DOGS, LEE AARON

https://bravewords.com/news/today-in-metal-history-july-23rd-2024-nick-menza-slash-sammy-hagar-the-winery-dogs-lee-aaron

#NickMenza #Slash #SammyHagar #TheWineryDogs #LeeAaron #Megadeth #Slayer #JudasPriest #Metallica #DeepPurple #PaulDiAnno #LuciferHammer #Bridear #JethroTull #Laceration #Yes #Portrait #SpiritsBurning #MichaelMoorcock #FuManchu

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Today In Metal History 🤘 July 15th, 2024🤘 JOE SATRIANI, JASON BONHAM, TROUBLE, OVERKILL, SENTENCED

https://bravewords.com/news/today-in-metal-history-july-15th-2024-joe-satriani-jason-bonham-trouble-overkill-sentenced

#JoeSatriani #JasonBonham #Trouble #Overkill #Sentenced #LedZeppelin #TheYardbirds #Yes #GrandFunkRailroad #CreedenceClearwaterRevival #PaulDiAnno #LuciferHammer #Bridear #JethroTull #Laceration #Portrait #SpiritsBurning #MichaelMoorcock #FuManchu #Noroth