#jul25 — Public Fediverse posts

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Though it may present a bit hyperbolic to say that Poland’s black and death metal scenes trample those of many other countries, the tension of young fervor and tradition weighs heavy in the hearts of riffslingers with something to say. We don’t wish turmoil on anyone, but with great struggles often comes an urge for loud, clear, and calamitous expression. New to the scene, Tarnobrzeg’s Blindfolded steps forth with their debut full-length What Seeps through Threads, a culmination of deathly tactics learned and refined over the course of their six years as a band. Boasting a range of influences from the swinging low-end drama of Gojira to the tumultuous fretboard fire of Decapitated, Blindfolded has a vision for something new from paths well-loved in the listening community. The Rodeö, however, is unforgiving. But every now and then, something comes out of left field to spark our spurs with fascination. – Dolphin Whisperer

Blindfolded // What Seeps through Threads [July 1st, 2025]

Gardenstale: This year’s Dormant Ordeal is an easy lister in my books, so it should come as no surprise that a Rodeö candidate using a pretty similar sound with a proggy twist elicits a big FUCK YEAH from me. Blindfolded brings an ingenious, potent mixture of Polish death metal with winding, labyrinthine structures, plenty of melodic licks, and burly, Vader-esque vocals. No fear of getting lost in wank, these guys hijack the hippocampus and the frontal cortex alike. “Frenzy of Exultations” alone should provide you with enough neck-snappery to use your vertebrae for confetti. It’s one of those rare albums that manage to unite groove, melody, technical chops (including an excellent drummer!), and sheer blunt brutality. And though it starts strong, it only gets better as it rolls on, with “Gates of Janus” building to an unforgiving steamroller with a hypnotic Gojira-esque riff and what might be the solo of the year. Death metal shouldn’t be too polished, but apparently, it can never be too Polish.1 4.0/5.0

What Seeps Through Threads by Blindfolded

Dolphin Whisperer: One part ambitious song structure and one part ferocious death metal groove, the young Polish Blindfolded strikes a hook-loaded balance of Oldpethian grandeur and riff-aggressive PolDeath whiplash. And, as a culmination of this fusion, a churning atmosphere embodies the acoustic intros and amplified tear-aways that propel What Seeps through Threads across a generous and genre-honing fifty-some-odd minutes. While retaining a modern compression in guitar attack and drum composition that helps throttle knotty fretwork into headbanging ears (“Great Day of His Wrath,” “Uneasy Absence of Fair Judgement”), the nimble troupe finds expressive string jangle in the longform lurches, like expositional title track or closing hop of “Gates of Janus.” No matter how long any track extends here, with the stankface-loaded “Frenzy of Exultations” even pushing the ten-plus minute mark, Blindfolded retains a sense of smart riff development, coordinated phlegmy mic assault, and punchy rhythmic adornments that keeps What Seeps stepping ever closer to greatness. Blindfolded hardly sounds like an act whose deathscapades totaled a mere ten minutes before this full-length sweep. And with as weighty a sound as they’ve assembled, it’s only a matter of a little refinement in transition and spaciousness in sound capture that sees the young Poles going toe-to-toe with their celebrated countrymen and hyped deathmongers alike. 3.5/5.0

Alekhines Gun – What a debut! Forming in 2019, Blindfolded seek to make a serious impression in their first outing. What Seeps through Threads is a well-crafted release which manages to meld theatrical songwriting with a Blood Mantra-era Decapitated sense of frantic assault. Weaving Opeth song structures throughout, Blindfolded manage to shift from chug-riddled pain-bringing (“Aeonian Lie”) to the moody solos which lend pathos and dynamics in song structure. A spacious mix lets everything ring out, from bass warbles to Bartłomiej Fucia’s gruff vocals, which maintain an understandable intonation instead of leaning in on sheer brutality. Despite all of the songs being rather lengthy, (the shortest coming in at just shy of six minutes), a healthy ebb-and-flow throughout keeps riffs from repeating often or devolving into monotony. What Seeps through Threads nails the “album as a journey” aesthetic, rendering its near-hour-long runtime far shorter than it sounds. A keen sense of drama in the composition imbues each song with its own identity, while still serving the greater album narrative. I don’t know if this was a concept album or not, but if it isn’t, Blindfolded should certainly pursue such ideas as they have the talent and skill for a high-class of aural storytelling. In the meantime, come and enjoy a remarkably mature release from Poland’s newest offspring. 3.5/5.0

Thyme: When it comes to death metal, I’m like Lynyrd Skynryd, which is to say a “Simple Man.” Give me a heaping plate of meat ‘n’ taters death and I’m good to go, but that’s not to say I can’t enjoy a platter requiring a more refined palate. With debut album What Seeps through Threads, Blindfolded, and not that bunch guided sightlessly into the forest, offer a plate full of progressive death metal requiring me to dress nice, sit up straight, and know which is the fucking salad fork. Hailing from Poland, these five relative unknowns are poised to crash my impending end-of-year party with their Opeth-meets-Archspire brand of techened death. Kacper Wąsik and Marcel Kucharski present a shredding tour de force, showcasing myriad guitar skills comprised of massive, vicious riffs and a maelstrom of solo work that flows from the technically precise to the emotionally melancholy (“The Great Day of His Wrath,” “In The Eye of Maelstrom”) and, for some added spice, silky smooth jazz-guitar interludes (“Uneasy Absence of Fair Judgment”) that you won’t see coming but won’t kick out of bed. Bartloniej Fucia’s voice—a perfect blend of Mikael Åkerfeldt and Oliver Rae Aleron—complements the instrumentation, rounded out by Zygmunt Haliniarz’s bass and Kacper Rajfur’s stellar drumming. From the opening piano strains of “What Seeps through Threads” to the impeccable closer “Gates of Janus,” Blindfolded presents an album full of dramatic tension and incredible performances. Beautifully brutal, What Seeps through Threads was not on my 2025 bingo card, but it’s likely you’ll see Blindfolded’s name pop up again, at least for me, come list season. 4.0/5.0

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Though it may present a bit hyperbolic to say that Poland’s black and death metal scenes trample those of many other countries, the tension of young fervor and tradition weighs heavy in the hearts of riffslingers with something to say. We don’t wish turmoil on anyone, but with great struggles often comes an urge for loud, clear, and calamitous expression. New to the scene, Tarnobrzeg’s Blindfolded steps forth with their debut full-length What Seeps through Threads, a culmination of deathly tactics learned and refined over the course of their six years as a band. Boasting a range of influences from the swinging low-end drama of Gojira to the tumultuous fretboard fire of Decapitated, Blindfolded has a vision for something new from paths well-loved in the listening community. The Rodeö, however, is unforgiving. But every now and then, something comes out of left field to spark our spurs with fascination. – Dolphin Whisperer

Blindfolded // What Seeps through Threads [July 1st, 2025]

Gardenstale: This year’s Dormant Ordeal is an easy lister in my books, so it should come as no surprise that a Rodeö candidate using a pretty similar sound with a proggy twist elicits a big FUCK YEAH from me. Blindfolded brings an ingenious, potent mixture of Polish death metal with winding, labyrinthine structures, plenty of melodic licks, and burly, Vader-esque vocals. No fear of getting lost in wank, these guys hijack the hippocampus and the frontal cortex alike. “Frenzy of Exultations” alone should provide you with enough neck-snappery to use your vertebrae for confetti. It’s one of those rare albums that manage to unite groove, melody, technical chops (including an excellent drummer!), and sheer blunt brutality. And though it starts strong, it only gets better as it rolls on, with “Gates of Janus” building to an unforgiving steamroller with a hypnotic Gojira-esque riff and what might be the solo of the year. Death metal shouldn’t be too polished, but apparently, it can never be too Polish.1 4.0/5.0

What Seeps Through Threads by Blindfolded

Dolphin Whisperer: One part ambitious song structure and one part ferocious death metal groove, the young Polish Blindfolded strikes a hook-loaded balance of Oldpethian grandeur and riff-aggressive PolDeath whiplash. And, as a culmination of this fusion, a churning atmosphere embodies the acoustic intros and amplified tear-aways that propel What Seeps through Threads across a generous and genre-honing fifty-some-odd minutes. While retaining a modern compression in guitar attack and drum composition that helps throttle knotty fretwork into headbanging ears (“Great Day of His Wrath,” “Uneasy Absence of Fair Judgement”), the nimble troupe finds expressive string jangle in the longform lurches, like expositional title track or closing hop of “Gates of Janus.” No matter how long any track extends here, with the stankface-loaded “Frenzy of Exultations” even pushing the ten-plus minute mark, Blindfolded retains a sense of smart riff development, coordinated phlegmy mic assault, and punchy rhythmic adornments that keeps What Seeps stepping ever closer to greatness. Blindfolded hardly sounds like an act whose deathscapades totaled a mere ten minutes before this full-length sweep. And with as weighty a sound as they’ve assembled, it’s only a matter of a little refinement in transition and spaciousness in sound capture that sees the young Poles going toe-to-toe with their celebrated countrymen and hyped deathmongers alike. 3.5/5.0

Alekhines Gun – What a debut! Forming in 2019, Blindfolded seek to make a serious impression in their first outing. What Seeps through Threads is a well-crafted release which manages to meld theatrical songwriting with a Blood Mantra-era Decapitated sense of frantic assault. Weaving Opeth song structures throughout, Blindfolded manage to shift from chug-riddled pain-bringing (“Aeonian Lie”) to the moody solos which lend pathos and dynamics in song structure. A spacious mix lets everything ring out, from bass warbles to Bartłomiej Fucia’s gruff vocals, which maintain an understandable intonation instead of leaning in on sheer brutality. Despite all of the songs being rather lengthy, (the shortest coming in at just shy of six minutes), a healthy ebb-and-flow throughout keeps riffs from repeating often or devolving into monotony. What Seeps through Threads nails the “album as a journey” aesthetic, rendering its near-hour-long runtime far shorter than it sounds. A keen sense of drama in the composition imbues each song with its own identity, while still serving the greater album narrative. I don’t know if this was a concept album or not, but if it isn’t, Blindfolded should certainly pursue such ideas as they have the talent and skill for a high-class of aural storytelling. In the meantime, come and enjoy a remarkably mature release from Poland’s newest offspring. 3.5/5.0

Thyme: When it comes to death metal, I’m like Lynyrd Skynryd, which is to say a “Simple Man.” Give me a heaping plate of meat ‘n’ taters death and I’m good to go, but that’s not to say I can’t enjoy a platter requiring a more refined palate. With debut album What Seeps through Threads, Blindfolded, and not that bunch guided sightlessly into the forest, offer a plate full of progressive death metal requiring me to dress nice, sit up straight, and know which is the fucking salad fork. Hailing from Poland, these five relative unknowns are poised to crash my impending end-of-year party with their Opeth-meets-Archspire brand of techened death. Kacper Wąsik and Marcel Kucharski present a shredding tour de force, showcasing myriad guitar skills comprised of massive, vicious riffs and a maelstrom of solo work that flows from the technically precise to the emotionally melancholy (“The Great Day of His Wrath,” “In The Eye of Maelstrom”) and, for some added spice, silky smooth jazz-guitar interludes (“Uneasy Absence of Fair Judgment”) that you won’t see coming but won’t kick out of bed. Bartloniej Fucia’s voice—a perfect blend of Mikael Åkerfeldt and Oliver Rae Aleron—complements the instrumentation, rounded out by Zygmunt Haliniarz’s bass and Kacper Rajfur’s stellar drumming. From the opening piano strains of “What Seeps through Threads” to the impeccable closer “Gates of Janus,” Blindfolded presents an album full of dramatic tension and incredible performances. Beautifully brutal, What Seeps through Threads was not on my 2025 bingo card, but it’s likely you’ll see Blindfolded’s name pop up again, at least for me, come list season. 4.0/5.0

No Shelter. – Remission/Resolve Review

By Angry Metal Guy

Written By Nameless_n00b_605

These days, it seems everywhere I turn, I can’t help but run into a great band from Germany. I don’t know what’s in the water over there, but with groups like Kanonenfieber, Unhallowed Deliverance, and classic acts like Sodom releasing great records, it’s no surprise that yet another talented group hails from Deutschland. No Shelter. is a five-piece from Münster that peddles in D-beat brutalization with a heaping helping of Boss HM-2 pedal worship. Its latest, Remission/Resolve, is a bass-driven freight train of Swedish-coded blackened death metal, crust punk, and hardcore, conjuring direct comparisons to genre stalwarts like Nails, Rotten Sound, and Trap Them. Can No Shelter. stand in the spotlight with some of the most vicious rippers around, or is it flying too close to the sun, wax wings ready to send it to hell with the rest of the copycats?

No Shelter. is relatively new to the scene (forming in 2017), but it sounds like a veteran unit. Every element of the band feels honed for their specific brand of violence. Thick, earth-shaking bass drives the album, while HM-2-infused riffage switches between blackened death blasts and Pantera-esque grooves. Bolstered by intricate drum fills and classic hardcore 2-step energy, the vocals are equally caustic, calling to mind a truly evil combo of Ringworm’s James Bulloch and Nails’ Todd Jones. No Shelter. plays with no holds barred throughout the entire album, and each band member takes to their role with a reckless abandon more than fitting for their genre inspirations.

The brutally sludgy bass is the adrenaline-juiced heart that keeps Remission/Resolve pumping. Where bands like Job for a Cowboy and Horrendous use bass to shore up their technicality and the spaciness of their sound, No Shelter. uses it as a sledgehammer. Bass is integral to metal, making riffs deeper, heavier, and more impactful overall, and No Shelter. just gets it. Every riff is complemented by slapping destruction, and the bass gets to fly free or drive breakdowns such as on tracks “Rotten,” “Doomed,” and “Ultimate Disgust”. No Shelter. suplexes the trend of bass-less metal right into the dumpster with And Justice for All.

Another element where No Shelter. pulls its sound from the Swedish death metal sewer is the production. The band wears its Entombed inspiration on its sleeve proudly (if the “Wolverine Blues” cover didn’t already give it away), and the HM-2 pedal is all over Remission/Resolve. Production was something No Shelter. wanted to nail, and Remission/Resolve is borderline perfect in this area. The bass is suitably nasty without sounding like a punchline (sorry Primus, I still love you), the snare drum hits hard without becoming tinny, and the vocals are discernible while still retaining the rawness and emotionality required for D-beat destruction. To cap it all off, the guitar brings cohesion to Remission/Resolve with that classic chainsaw tone that would make bands like Hath, Dismember, and Dormant Ordeal proud.

Remission/Resolve isn’t perfect, although where it stumbles isn’t in songwriting or musicianship. This LP lasts a blistering 32 minutes, but the collection of twelve tracks starts with an intro, features two interludes, and a cover as the final track. While I appreciate the interludes as breaks from the aural onslaught on Remission/Resolve, they vary in quality. The unoriginally titled “Intro” (at least it knows what it is) is suitably sinister and builds up anticipation, but the two interludes are almost too simple musically and seem to only exist to let the listener breathe. An admirable idea, and one that is necessary for a lot of albums in this genre, but these moments would be better served attached to the end of already existing tracks. On top of that, I wish they would loop back in on the musical themes established across the album and in the intro, as it stands, the two interludes “I” and “II” feel like they come from a different album.

No Shelter. ends up with a very good record that stands nearly toe-to-toe with its genre inspirations and rightfully lives up to the bands it references so heavily. Therefore, it is fitting that Remission/Resolve closes things with a rip-roaring cover of Entombed’s “Wolverine Blues,” a song that slides so well into the band’s sound, it took me a minute to realize it was a cover in the first place. “Wolverine Blues” ends up feeling perfectly placed right alongside the best tracks on the album and works as a self-referential closer to an album chock-full of Swedish buzzsaw worship. No Shelter. doesn’t so much rock the boat with its brand of blackened hardcore as it does slap a fuckin’ motor on it and violently rocket across the lake.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: This Charming Man Records
Websites: noshelter.bandcamp.com | facebook.com/NoShelterBand
Releases Worldwide: July 25th, 2025

#2025 #35 #BlackenedDeathMetal #Crust #DBeat #Dismember #DormantOrdeal #Entombed #GermanMetal #Hardcore #Hath #Jul25 #Kanonenfieber #Nails #NoShelter_ #Primus #RemissionResolve #Review #Reviews #RottenSound #Sodom #SwedishDeathMetal #TrapThem #UnhallowedDeliverance

No Shelter. – Remission/Resolve Review

By Angry Metal Guy

Written By Nameless_n00b_605

These days, it seems everywhere I turn, I can’t help but run into a great band from Germany. I don’t know what’s in the water over there, but with groups like Kanonenfieber, Unhallowed Deliverance, and classic acts like Sodom releasing great records, it’s no surprise that yet another talented group hails from Deutschland. No Shelter. is a five-piece from Münster that peddles in D-beat brutalization with a heaping helping of Boss HM-2 pedal worship. Its latest, Remission/Resolve, is a bass-driven freight train of Swedish-coded blackened death metal, crust punk, and hardcore, conjuring direct comparisons to genre stalwarts like Nails, Rotten Sound, and Trap Them. Can No Shelter. stand in the spotlight with some of the most vicious rippers around, or is it flying too close to the sun, wax wings ready to send it to hell with the rest of the copycats?

No Shelter. is relatively new to the scene (forming in 2017), but it sounds like a veteran unit. Every element of the band feels honed for their specific brand of violence. Thick, earth-shaking bass drives the album, while HM-2-infused riffage switches between blackened death blasts and Pantera-esque grooves. Bolstered by intricate drum fills and classic hardcore 2-step energy, the vocals are equally caustic, calling to mind a truly evil combo of Ringworm’s James Bulloch and Nails’ Todd Jones. No Shelter. plays with no holds barred throughout the entire album, and each band member takes to their role with a reckless abandon more than fitting for their genre inspirations.

The brutally sludgy bass is the adrenaline-juiced heart that keeps Remission/Resolve pumping. Where bands like Job for a Cowboy and Horrendous use bass to shore up their technicality and the spaciness of their sound, No Shelter. uses it as a sledgehammer. Bass is integral to metal, making riffs deeper, heavier, and more impactful overall, and No Shelter. just gets it. Every riff is complemented by slapping destruction, and the bass gets to fly free or drive breakdowns such as on tracks “Rotten,” “Doomed,” and “Ultimate Disgust”. No Shelter. suplexes the trend of bass-less metal right into the dumpster with And Justice for All.

Another element where No Shelter. pulls its sound from the Swedish death metal sewer is the production. The band wears its Entombed inspiration on its sleeve proudly (if the “Wolverine Blues” cover didn’t already give it away), and the HM-2 pedal is all over Remission/Resolve. Production was something No Shelter. wanted to nail, and Remission/Resolve is borderline perfect in this area. The bass is suitably nasty without sounding like a punchline (sorry Primus, I still love you), the snare drum hits hard without becoming tinny, and the vocals are discernible while still retaining the rawness and emotionality required for D-beat destruction. To cap it all off, the guitar brings cohesion to Remission/Resolve with that classic chainsaw tone that would make bands like Hath, Dismember, and Dormant Ordeal proud.

Remission/Resolve isn’t perfect, although where it stumbles isn’t in songwriting or musicianship. This LP lasts a blistering 32 minutes, but the collection of twelve tracks starts with an intro, features two interludes, and a cover as the final track. While I appreciate the interludes as breaks from the aural onslaught on Remission/Resolve, they vary in quality. The unoriginally titled “Intro” (at least it knows what it is) is suitably sinister and builds up anticipation, but the two interludes are almost too simple musically and seem to only exist to let the listener breathe. An admirable idea, and one that is necessary for a lot of albums in this genre, but these moments would be better served attached to the end of already existing tracks. On top of that, I wish they would loop back in on the musical themes established across the album and in the intro, as it stands, the two interludes “I” and “II” feel like they come from a different album.

No Shelter. ends up with a very good record that stands nearly toe-to-toe with its genre inspirations and rightfully lives up to the bands it references so heavily. Therefore, it is fitting that Remission/Resolve closes things with a rip-roaring cover of Entombed’s “Wolverine Blues,” a song that slides so well into the band’s sound, it took me a minute to realize it was a cover in the first place. “Wolverine Blues” ends up feeling perfectly placed right alongside the best tracks on the album and works as a self-referential closer to an album chock-full of Swedish buzzsaw worship. No Shelter. doesn’t so much rock the boat with its brand of blackened hardcore as it does slap a fuckin’ motor on it and violently rocket across the lake.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: This Charming Man Records
Websites: noshelter.bandcamp.com | facebook.com/NoShelterBand
Releases Worldwide: July 25th, 2025

#2025 #35 #BlackenedDeathMetal #Crust #DBeat #Dismember #DormantOrdeal #Entombed #GermanMetal #Hardcore #Hath #Jul25 #Kanonenfieber #Nails #NoShelter_ #Primus #RemissionResolve #Review #Reviews #RottenSound #Sodom #SwedishDeathMetal #TrapThem #UnhallowedDeliverance

Ba’al – The Fine Line between Heaven and Here Review

By Angry Metal Guy

By: Nameless_n00b_605

Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?

Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.

Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.

The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1

Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.

The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025

#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational

Bloodletter – Leave the Light Behind Review

By ClarkKent

Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.

Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.

Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive

One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.

If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords

Bloodletter – Leave the Light Behind Review

By ClarkKent

Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.

Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.

Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive

One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.

If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords

Abigail Williams – A Void Within Existence Review

By Dr. A.N. Grier

After dropping a new album last year under his Nachtmystium moniker, I had a sneaky suspicion Ken Sorceron would bless us with a new Abigail Williams record this year. And, sure as shit, A Void Within Existence is here. I’ve been covering this outfit for some time now, thankfully, after their spell in the metalcore realm. And each new album continues to push new boundaries, inching closer to grabbing the counter by the balls and dragging it through blackened muck. While some would disagree, 2019’s Walk Beyond the Dark was a brilliant record that might arguably be the band’s best work. That sets a new bar for this ever-evolving group that, I can only assume, becomes more difficult to overtake with each new album and the swinging door of lineup changes and guest appearances. At least for now, the arsenal Sorceron surrounds himself with on A Void Within Existence is a tight group that meshes nicely together. But will this new record deliver the goods and bitch-slap the counter?

One of the best guests on this year’s release is Mike Heller (Changeling, Malignancy, Raven, and a thousand other fucking bands) on drums. Heller brings the intensity that adds layers of depth to A Void Within Existence, which are rarely found on the band’s previous albums. John Porada’s1 prowess also does wonders to the bass-heavy songwriting of Abigail Williams. Complete it with Vale of Pnath’s Vance Valenzuela on guitar, and we have one of the best Abigail Williams lineups. A Void Within Existence sets this foursome down a road of wreckage that can either end in annihilation or perfection. And it all weighs on the songwriting, performances, production, and, well… everything involved in crafting a release, especially with the depth involved in the lyrics and musical direction. Let’s see if I start crying.

A Void Within Existence wastes no time getting off the ground as it explodes with a heavy-bass assault and a murky, dissonant riff. It eventually settles into a groove as the spitting, slathering vocals arrive, supported powerfully by thundering backing vocals. Oddly enough, the pace and vocal arrangements evoke Hypocrisy. But things really get moving with the follow-up track, “Void Within.” Heller’s drum work, in particular, is the perfect teaser of what’s to come on later tracks. After opening with a meloblack passage, the razor-sharp riffs intensify around Sorceron’s vicious rasps. For nearly six minutes, this conglomeration of crushing black riffs, touches of orchestration, and absolute sinisterness paints a picture of sheer darkness. With wild guitar leads, impressive drum work, and a climax to make it worth the journey, “Void Within” is one of the most rounded ditties on the record.

But the best tracks on the album are “Talk to Your Sleep” and the closing number, “No Less than Death.” Seven months into the year, “Talk to Your Sleep” threatens to be my song o’ the year for 2025. This thing is nothing like anything I’ve ever heard from the band. Bass and drum-led, the crushing riff that springs up throughout is arguably the most memorable and headbangable thing ever to come from Abigail Williams. After cracking pavement with its mid-paced approach, it swings back around to begin again, this time with some punching vocals that are further emphasized by the guitars and drums. Then, Porada’s disgusting bass wakes the beast once more as we headbang to the end. Like Walk Beyond the Dark’s “The Final Failure,” “No Less than Death” is a surprising piece that shows Sorceron continuing to push his limits as a vocalist. While “The Final Failure” teased at some clean vocals, while retaining the rasp as the lead, “No Less than Death” goes all out with soaring, soothing cleans and rasping support. This atmospheric beauty takes us along valleys and hills that never end, and, when you thought you’d heard everything this song could offer, it concludes with beautiful, old-school solo work that, depending on your mood, leaves you hopelessly depressed or naively optimistic

After a dozen listens, I can’t find much on A Void Within Existence that makes me unhappy. While it’s compressed, the production still allows all the instruments to lend their weight to the end product. There could be a bit more bass in places, but it’s made up for by the slick drum mix. And, surprisingly enough, the clean vocals are far more forward in the mix than the previous album, which is pleasant to hear. The most predictable track on the album is “Nonexistence,” but it’s a solid, slower piece that draws you into the album’s sad theme. Letting the songwriting brew for the last six years has done A Void Within Existence well. It’s a repeatable record that requires multiple listens to explore every nook and cranny. Knowing the history of the band and its lineup changes, I hope Sorceron can bring these gents back in the future, because this might be the best they’ve ever been.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Agonia Records
Websites: facebook.com/abigailwilliamsband
Releases Worldwide: July 18th, 2025

#2025 #40 #AbigailWilliams #AgoniaRecords #AmericanMetal #AtmosphericBlackMetal #BearMace #BlackMetal #Changeling #Hypocrisy #Jul25 #Malignancy #Nachtmystium #Raven #Review #Reviews #ValeOfPnath

Abigail Williams – A Void Within Existence Review

By Dr. A.N. Grier

After dropping a new album last year under his Nachtmystium moniker, I had a sneaky suspicion Ken Sorceron would bless us with a new Abigail Williams record this year. And, sure as shit, A Void Within Existence is here. I’ve been covering this outfit for some time now, thankfully, after their spell in the metalcore realm. And each new album continues to push new boundaries, inching closer to grabbing the counter by the balls and dragging it through blackened muck. While some would disagree, 2019’s Walk Beyond the Dark was a brilliant record that might arguably be the band’s best work. That sets a new bar for this ever-evolving group that, I can only assume, becomes more difficult to overtake with each new album and the swinging door of lineup changes and guest appearances. At least for now, the arsenal Sorceron surrounds himself with on A Void Within Existence is a tight group that meshes nicely together. But will this new record deliver the goods and bitch-slap the counter?

One of the best guests on this year’s release is Mike Heller (Changeling, Malignancy, Raven, and a thousand other fucking bands) on drums. Heller brings the intensity that adds layers of depth to A Void Within Existence, which are rarely found on the band’s previous albums. John Porada’s1 prowess also does wonders to the bass-heavy songwriting of Abigail Williams. Complete it with Vale of Pnath’s Vance Valenzuela on guitar, and we have one of the best Abigail Williams lineups. A Void Within Existence sets this foursome down a road of wreckage that can either end in annihilation or perfection. And it all weighs on the songwriting, performances, production, and, well… everything involved in crafting a release, especially with the depth involved in the lyrics and musical direction. Let’s see if I start crying.

A Void Within Existence wastes no time getting off the ground as it explodes with a heavy-bass assault and a murky, dissonant riff. It eventually settles into a groove as the spitting, slathering vocals arrive, supported powerfully by thundering backing vocals. Oddly enough, the pace and vocal arrangements evoke Hypocrisy. But things really get moving with the follow-up track, “Void Within.” Heller’s drum work, in particular, is the perfect teaser of what’s to come on later tracks. After opening with a meloblack passage, the razor-sharp riffs intensify around Sorceron’s vicious rasps. For nearly six minutes, this conglomeration of crushing black riffs, touches of orchestration, and absolute sinisterness paints a picture of sheer darkness. With wild guitar leads, impressive drum work, and a climax to make it worth the journey, “Void Within” is one of the most rounded ditties on the record.

But the best tracks on the album are “Talk to Your Sleep” and the closing number, “No Less than Death.” Seven months into the year, “Talk to Your Sleep” threatens to be my song o’ the year for 2025. This thing is nothing like anything I’ve ever heard from the band. Bass and drum-led, the crushing riff that springs up throughout is arguably the most memorable and headbangable thing ever to come from Abigail Williams. After cracking pavement with its mid-paced approach, it swings back around to begin again, this time with some punching vocals that are further emphasized by the guitars and drums. Then, Porada’s disgusting bass wakes the beast once more as we headbang to the end. Like Walk Beyond the Dark’s “The Final Failure,” “No Less than Death” is a surprising piece that shows Sorceron continuing to push his limits as a vocalist. While “The Final Failure” teased at some clean vocals, while retaining the rasp as the lead, “No Less than Death” goes all out with soaring, soothing cleans and rasping support. This atmospheric beauty takes us along valleys and hills that never end, and, when you thought you’d heard everything this song could offer, it concludes with beautiful, old-school solo work that, depending on your mood, leaves you hopelessly depressed or naively optimistic

After a dozen listens, I can’t find much on A Void Within Existence that makes me unhappy. While it’s compressed, the production still allows all the instruments to lend their weight to the end product. There could be a bit more bass in places, but it’s made up for by the slick drum mix. And, surprisingly enough, the clean vocals are far more forward in the mix than the previous album, which is pleasant to hear. The most predictable track on the album is “Nonexistence,” but it’s a solid, slower piece that draws you into the album’s sad theme. Letting the songwriting brew for the last six years has done A Void Within Existence well. It’s a repeatable record that requires multiple listens to explore every nook and cranny. Knowing the history of the band and its lineup changes, I hope Sorceron can bring these gents back in the future, because this might be the best they’ve ever been.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Agonia Records
Websites: facebook.com/abigailwilliamsband
Releases Worldwide: July 18th, 2025

#2025 #40 #AbigailWilliams #AgoniaRecords #AmericanMetal #AtmosphericBlackMetal #BearMace #BlackMetal #Changeling #Hypocrisy #Jul25 #Malignancy #Nachtmystium #Raven #Review #Reviews #ValeOfPnath

Warkings – Armageddon Review

By ClarkKent

Those of you hoping to turn your ancient civilization cosplay group into a power metal band, sorry to burst your bubble–Warkings has beat you to it. Including Armageddon, this prolific German outfit has released five albums since their founding in 2018.1 Perhaps realizing that one new LP per year is not sustainable, Warkings waited three years to record Armageddon. In that span, the quartet has transformed itself into a quintet, making permanent Morgana le Fay, who previously served as a guest collaborator. Admittedly, it’s not easy to take a group seriously when it dresses up and poses like the members in the band photo below. Fortunately, nobody takes power metal too seriously anyway. Trve fans only care about the following questions: Is the album fun? Is it catchy? Does it make you sing and dance to ridiculous choruses? Let’s find out if Warkings checks these boxes.

Warkings follows the Sabaton and Powerwolf schools of power metal, playing with high levels of bombast while following Sabaton’s lead in writing about historical events. These range from a song (“Armageddon”) about a Viking raid on a church in 793 to a song (“Genghis Khan”) about the famed Mongolian ruler to a song (“Hangman’s Night”) about when France’s King Phillip IV arrested and executed the Knights Templar in 1307. Those unfamiliar with Warkings’s previous work might assume the addition of a female vocalist puts them in the beauty and the beast dynamic of Epica or Nightwish. In a twist, it’s the female, Morgana le Fay, who performs with an edgier, more aggressive approach than the male, The Tribune. The Tribune has a cleaner, softer sound than his Sabaton and Powerwolf brethren, while Morgana le Fay sounds more like Lzzy Hale of Halestorm. The difference in impact that these two have couldn’t be starker. Whereas The Tribune brings a more upbeat feel akin to Fellowship, Morgana le Fay adds grit, which is most evident on the relentlessly heavy “Circle of Witches.”

Don’t expect a hearty meal from Armageddon; it’s more like junk food for your ears. Just as junk food hooks you with additives like sugar and salt, Warkings hooks you with effective, catchy choruses and high-energy drum beats. Opening tracks “Armageddon” and “Genghis Khan” are particularly tasty morsels. If there was ever a heavy metal sing-along album, those two songs would be near the top of the playlist. There are plenty of other examples of good earworms, but Armageddon is at its best on collaborations with other German power metal bands. These include “Hangman’s Night” performed with horror-themed collaborator Dominum, and “Stahl auf Stahl” performed with folk-themed Subway to Sally. On these songs, the bands mix and match their strengths, such that “Hangman’s Night” adds atmospheric chanting and “Stahl auf Stahl” features some tasty violin melodies alongside the guitars.2 Just as too much junk food will make you sick, Warkings wisely limits tunes to four minutes or less, and the fourteen-track record clocks in at a swift 40 minutes.

With some modifications, Warkings could upgrade into a more filling and nutritious snack. For one, while the guitar riffs are adequate in driving the high energy, they’re often generic and uninspired. Sometimes the riffs are great during the intro and chorus but disappear during the rest of the song (“Genghis Khan”), or they’re just bland throughout (“Kingdom Come”). The solos similarly suffer a lack of imagination, and they’re so brief you wonder why Warkings bothered in the first place. The other issue is that Armageddon sags in the middle. This is where a couple of four-minute tracks, “Kingdom Come” and “Kings of Ragnarok”, prove the wisdom of the wham-bam approach. When you rely on simple formulas without including Ascension–level shredding during the solos, anything longer than three minutes starts to spoil.

Armageddon marks my first venture with Warkings, and admittedly, I wasn’t impressed during my first few listens. With each subsequent listen, however, the hooks embedded themselves deeper and deeper into my brain. Those who are more familiar with Warkings might be happy to learn that they appear to have benefited from the lengthier gestation period between albums. They have come back from this break not only with a new member who benefits their sound, but sharper songwriting and stronger choruses. So prepare to dust off your old suit of ancient armor and regale your neighbors with anthems about centuries-old historical events.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: July 4th, 2025

#2025 #30 #Armageddon #Ascension #Dominum #Epica #Fellowship #GermanMetal #Halestorm #Jul25 #NapalmRecords #Nightwish #PowerMetal #Powerwolf #Review #Reviews #Sabaton #SubwayToSally #WarKings

Warkings – Armageddon Review

By ClarkKent

Those of you hoping to turn your ancient civilization cosplay group into a power metal band, sorry to burst your bubble–Warkings has beat you to it. Including Armageddon, this prolific German outfit has released five albums since their founding in 2018.1 Perhaps realizing that one new LP per year is not sustainable, Warkings waited three years to record Armageddon. In that span, the quartet has transformed itself into a quintet, making permanent Morgana le Fay, who previously served as a guest collaborator. Admittedly, it’s not easy to take a group seriously when it dresses up and poses like the members in the band photo below. Fortunately, nobody takes power metal too seriously anyway. Trve fans only care about the following questions: Is the album fun? Is it catchy? Does it make you sing and dance to ridiculous choruses? Let’s find out if Warkings checks these boxes.

Warkings follows the Sabaton and Powerwolf schools of power metal, playing with high levels of bombast while following Sabaton’s lead in writing about historical events. These range from a song (“Armageddon”) about a Viking raid on a church in 793 to a song (“Genghis Khan”) about the famed Mongolian ruler to a song (“Hangman’s Night”) about when France’s King Phillip IV arrested and executed the Knights Templar in 1307. Those unfamiliar with Warkings’s previous work might assume the addition of a female vocalist puts them in the beauty and the beast dynamic of Epica or Nightwish. In a twist, it’s the female, Morgana le Fay, who performs with an edgier, more aggressive approach than the male, The Tribune. The Tribune has a cleaner, softer sound than his Sabaton and Powerwolf brethren, while Morgana le Fay sounds more like Lzzy Hale of Halestorm. The difference in impact that these two have couldn’t be starker. Whereas The Tribune brings a more upbeat feel akin to Fellowship, Morgana le Fay adds grit, which is most evident on the relentlessly heavy “Circle of Witches.”

Don’t expect a hearty meal from Armageddon; it’s more like junk food for your ears. Just as junk food hooks you with additives like sugar and salt, Warkings hooks you with effective, catchy choruses and high-energy drum beats. Opening tracks “Armageddon” and “Genghis Khan” are particularly tasty morsels. If there was ever a heavy metal sing-along album, those two songs would be near the top of the playlist. There are plenty of other examples of good earworms, but Armageddon is at its best on collaborations with other German power metal bands. These include “Hangman’s Night” performed with horror-themed collaborator Dominum, and “Stahl auf Stahl” performed with folk-themed Subway to Sally. On these songs, the bands mix and match their strengths, such that “Hangman’s Night” adds atmospheric chanting and “Stahl auf Stahl” features some tasty violin melodies alongside the guitars.2 Just as too much junk food will make you sick, Warkings wisely limits tunes to four minutes or less, and the fourteen-track record clocks in at a swift 40 minutes.

With some modifications, Warkings could upgrade into a more filling and nutritious snack. For one, while the guitar riffs are adequate in driving the high energy, they’re often generic and uninspired. Sometimes the riffs are great during the intro and chorus but disappear during the rest of the song (“Genghis Khan”), or they’re just bland throughout (“Kingdom Come”). The solos similarly suffer a lack of imagination, and they’re so brief you wonder why Warkings bothered in the first place. The other issue is that Armageddon sags in the middle. This is where a couple of four-minute tracks, “Kingdom Come” and “Kings of Ragnarok”, prove the wisdom of the wham-bam approach. When you rely on simple formulas without including Ascension–level shredding during the solos, anything longer than three minutes starts to spoil.

Armageddon marks my first venture with Warkings, and admittedly, I wasn’t impressed during my first few listens. With each subsequent listen, however, the hooks embedded themselves deeper and deeper into my brain. Those who are more familiar with Warkings might be happy to learn that they appear to have benefited from the lengthier gestation period between albums. They have come back from this break not only with a new member who benefits their sound, but sharper songwriting and stronger choruses. So prepare to dust off your old suit of ancient armor and regale your neighbors with anthems about centuries-old historical events.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Napalm Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: July 4th, 2025

#2025 #30 #Armageddon #Ascension #Dominum #Epica #Fellowship #GermanMetal #Halestorm #Jul25 #NapalmRecords #Nightwish #PowerMetal #Powerwolf #Review #Reviews #Sabaton #SubwayToSally #WarKings