#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

Say one thing about the AMG readerbase, say that they harbor absolutely zero ambiguity within themselves as to what kind of music they’re not interested in. I anticipate that some who wander these halls will gawk at Thumos’ The Trial of Socrates: a colossal two-hour, fully instrumental collection of doomy post-prog metal. Indeed, it’s not what I’d call the most accessible album I’ve written about, so who am I to judge? However, if I were to say another thing about the AMG reader base, I’d say that they can appreciate artistry more than the average listener. To that effect, I believe that those who attend The Trial of Socrates will discover an album that is intelligent, creative, and captivating.

Sixteen songs, sixteen different Socratic dialogues transposed into music. The Trial of Socrates is undeniably high-concept, but Thumos expertly keeps the listener engaged with immediate, yet endlessly thoughtful songcraft. The Trial is full of massive, memorable riffs that hide tons of depth in their execution. “The Parmenides” is a damn strong opener that sets a pensive tone with wistful guitar notes, before leading into a heavy riff that’s carried by a crystalline, piercing guitar melody. The Trial doesn’t typically adhere to traditional song structure, but songs are far from aimless. Oftentimes a single theme will be explored with chorus-adjacent repetition even as various ideas or riffs are added and iterated upon, like in the excellent “The Gorgias,” while other songs take a more progressive approach like the epic “The Apology.” These structures give the songs a conversational cadence, as themes are explored and interrogated with a Socratic thoroughness.

The Trial of Socrates by Thumos

Perhaps Thumos’ greatest achievement here is how they maintain a vital pace across The Trial’s long runtime. Someone more versed than I in Socratic philosophy might be able to recognize something approaching a narrative or chronology across The Trial, but even lacking context, the music alone compensates with excellent pacing and variety. The songs across The Trial shift across a healthy spectrum of fast and heavy (“The Thaeatetus,” “The Philebus”), pointed melody-driven drama (“The Parmenides,” The Apology”) or grand pathos (“The Sophist,” “The Phædo”). Even as individual songs can be lengthy, they’re always followed by something new, up until you reach the sublime end. The climax of “The Phædo” is a resplendent, tragic outpour of emotion that strips away any need for context with sheer force, ushering the end of The Trial in “The Menexenus,” a nigh funeral dirge.

The Trial of Socrates is exactly the kind of metal I love: something that excels in both passive and active listening. The adherence to its source material and striking imagery pokes and prods at your curiosity, encouraging you to wander the labyrinth with the deepest focus, even as the post-doom riff work provides a comfortable space to rest in and bask in the diverse, stellar musicianship. Yeah, it’s long as hell, but to be frank, I grow tired of feeling like I must apologize for The Trial’s runtime, sheepishly imploring you to listen despite it. Thumos has a lot to express about their choice of inspiration, and there is little, if anything, I might suggest be removed. The Trial of Socrates is an intelligent and captivating piece, one that is worth your time.

Tracks to Check Out: ”The Parmenides,” “The Protagoras,” “The Gorgias,” “The Sophist,” “The Phædo”

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

Record(s) o’ the Month – July 2025

By Angry Metal Guy

In this mad dash towards relevance and timeliness, it can be tough to come up with things to say that don’t feel a little cliché. But the reality is that this whole path has been leading here. I had hoped to have a really special surprise ready for this day, but alas, I have pulled a classic Attention Deficit Disorder Guy move, filling my schedule up with stuff that hits me right in the dopamine. I’ve got reviews to write, n00bs to torture, and I have a fancy new vacuum cleaner that both vacuums and mops, so my apartment is as clean as it has ever been. I watched that K-pop Demon Hunters movie, and listened to this incredible vocal cover of it from the singer of Twilight Force way too many times. I got a crash course in super cheesy Latin ballads since the 1980s. I wrote a long-ass post about Why Spotify Sucks n’ Shit and then fought with everyone in the comments for days. I am an unregulated, but surprisingly productive, bench.1 So, sans surprise, I am soldiering on to bring you the Record(s) o’ the Month for July 2025, as close as I’ve been to on time all year. Incidentally, the Record o’ the Month matches my messy bench energy pretty much perfectly.

I told you that Calva Louise’s most recent opus—entitled Edge of the Abyss [Bandcamp] and out July 11th, 2025, from Mascot Records—was going to be my most controversial Record o’ the Month since Our Oceans.2 I don’t think it should be, of course. I think it should be appreciated for the fascinating blend of genres that it represents, as well as the talent—and sheer drive—of a band that truly has dragged itself through the dregs of a dying music industry with an incredible DIY ethic to produce a kick ass record with a gorgeous and powerful blend of ideas. Edge of the Abyss is an act of becoming, a sketch, a step towards finally getting one’s vision down on paper, tape, or film. It’s adventurous, thoughtful, beautiful, and diverse—an invigorating assemblage of ideas ranging from groovecore to Viennese classical to música llanera, spanning the globe and decades for inspiration. It’s music that is truly progressive, if not overly technical. But setting that aside, Edge of the Abyss just works. The fragments have a cinematic feel that the band carries through to its visual profile, with strong songwriting and a cinematic universe that they have been trying to bring into being for four albums. As an overly excited Me Myself gushed to anyone who would listen: “Some records sound big, and some records feel big. Edge of the Abyss does both. It feels big because it has ideas, and it succeeds because it commits to those ideas with zero regard for genre gatekeeping or scene politics. It’s weird, catchy, and gleefully sophisticated, with every song bringing something unique to the table. Every idea and every arrangement counts. It’s a banger parade,” and it’s a promise that there’s so much more to come.

A special note: Calva Louise will be going on their first headlining tour of the US this September [find dates and tickets]. Go see them and tell them that Angry Metal Guy sent you.

Runner(s) Up:

Sarastus // Agony Eternal [July 1st, 2025 | Dominance of Darkness Records | Bandcamp] — One of the best things about being Angry Metal Guy is being able to ask people during arguments which of us has “the eponymous website that hundreds of thousands of people visit monthly.” A close second is discovering shit that no one has heard of and throwing it into the chat, all “Oh, Grier, you need to check out Sarastus! Great black metal without the label atmospheric anywhere near it!” Because I knew from the word go that Agony Eternal was something special and whatever It is, Sarastus has It in spades.3 There’s a specific vibe here that reminds me not just of the sound of late-90s/early-00s melodic black metal, but the feel—hungry, heavy, and addictive. Sarastus doesn’t lean away from attack, but neither do these Finns just blanket the world in blast beats; they find strength in diversity and slick songwriting. Agony Eternal is the kind of record that reminds you of why black metal was such a vital gateway to extreme metal once upon a time. Fast, heavy, extreme, and melodic, it evokes the exact feeling that I need from my black metal: Agony Eternal. And I wasn’t alone, an excited, nimble-fingered Kenfrenstrosity swiped Sarastus from both Myself and Grier, and then rode that hype machine over the cliff like a Once and Future King: “Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But I hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum.” Sarastus, Life of the Party!

Impureza // Alcázares [July 11th, 2025 | Season of Mist | Bandcamp] — When it comes to inventive ways to make your death metal cooler, Impureza has one of my favorites. The blending of flamenco—one of the world’s coolest non-metal styles of music—and death metal is a hard row to hoe, but somehow these French death metallers have gotten the balance right. This wasn’t always the case, but Alcázares is the perfect refinement of what was already a pretty well-developed idea. What’s fun is that Impureza has started taking on an almost melodic death feel at times, reminiscent of Æeternam at their best.4 But there’s a brutality evocative of the era in death metal history when Black Seeds of Vengeance was considered to be the peak of death metal evolution. And at this point, I’m just fucking here for all of it. In My Frothy Excitement, I sandblasted the Internet with words: “Alcázares is Impureza at their most ambitious: historically immersed, sonically expansive, blasphemous, and super into alternative histories of colonialism.5 Alcázares is a violent, poetic invocation of Spain’s medieval imagination, and it sports an enchanting vibe that recalls some of the best records I own. Seven years of development resulted in a record full of tight riffs, beautiful guitar work, intense compositions, and somehow a Necromancer. I would say that I hope to see something from them soon, but I’m happy to wait another seven years for another record of this quality.” Enjoy ov Orphaned-Land-Sized Breaks between Albums. I’ll be ready for you to blow my mind again in 2032.

Phantom Spell // Heather & Hearth [July 18th, 2025 | Cruz del Sur Music | Bandcamp] — Phantom Spell was a real surprise for me. Sometimes you go into a record knowing you like the band. But Phantom Spell, I wouldn’t have looked twice at it if I hadn’t just clicked play on the promo. And man, it’s risky having a 12-minute track as the opener for your album. But that’s the kind of risk that Kyle McNeill takes and, honestly, it paid off. I knew Heather & Hearth was going to be quality when I bobbed my head through the whole 11 minutes and 51 seconds of “The Autumn Citadel,” only to look up and realize it was 11 minutes and 51 seconds long. And that’s the trick with Heather & Hearth; it catches you off guard. Whether it’s the organ tones stolen directly from The Snow Goose, the guitar solos that taste like shag carpet, or the vocal harmonies that make Mikael Åkerfeldt jelly, everything works to perfection while sounding great. Rather than feeling like nostalgiacore, Phantom Spell feels authentic, powerful, and is a truly addictive listen. As I babbled as loudly as anyone would allow me: “This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening ‘bew bew bews’ of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting from a different time. Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell—a solo project—to exist. And that’s an amazing success.”

#2025 #AgonyEternal #Alcázares #BlogPost #CalvaLouise #EdgeOfTheAbyss #Gazpacho #HeatherHearth #Impureza #Jul25 #MascotRecords #MúsicaLlanera #PhantomSpell #Sarastus #TwilightForce

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

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Beheaded – Għadam Review

By Dear Hollow

I’m not sure which is worse: to release terrible or forgettable albums. Unfortunately for Maltese death metal outfit Beheaded, it has been the latter for the vast majority of their career. Always releasing competent material but nothing that sticks, their tenure within these hallowed halls has been rife with mediocrity, both 2017’s Beast Incarnate and 2019’s Only Death Can Save You lauded acknowledged for sounding like brutal death metal by the inimitable Kronos – the definition of “mixed” territory. Even 1998 highlight Perpetual Mockery has been covered up by the sands of time. This is precisely why Għadam is such a monumental release for this death metal stalwarts.

For Għadam, Beheaded becomes “il-kittieb” of their own horror – both lyrically and musically. Nearly forsaking all brutal tendencies without sacrificing its bite, the quintet focuses instead on channeling its heritage. The songs are entirely in Maltese, each track named after and capturing the storytelling of local horror writer Anton Grasso:1 the songs grapple with folk horror, local struggles, and the supernatural, and reflect the nation’s troubled history with religion and Christianity. For the first time in Beheaded’s history, it feels as though the band is writing their own music rather than regurgitating what brutal death ought to sound like. While the album is imperfect, Għadam is a motion from a band previously stuck in the muck of their own habits to rise from the dead and make the future bright again.

While elements of Beheaded’s brutal death peak through periodically, Għadam is remarkably atmospheric and dread-inducing. Drawing from Maltese folk music, the melodies here give an otherworldly flare, conjuring horrors both tangible and surreal. While the opening title track and the concluding instrumental “Irmied” feature harp guitar that sets the tone for a more focused and streamlined affair, the meat of Għadam is ominous, dense, and foreboding. From dirging riffs layered with doomed menace and vicious vocals (title track, “Iħirsa”), the kickass guitar work amplified by wild solos (“Iljieli bla qamar,” “Jidħaq il-lejl”), or the blackened tremolo and subtle synths that add a whole new dimension of intensity (“B’niket inħabbru l-mewt,” “Ix-xjaten ta’ moħħi”), riffy motifs and haunted leads are streamlined and consistent across the board. Cleans are used sparingly, but utilize a mournful mumble that adds to the desolation of the atmosphere. Ultimately, Beheaded feels reborn into a sound that feels very much theirs, despite newfound comparisons to God Dethroned, Belphegor, and Angelcorpse.

Given highlights and individual song identity, the structure of Għadam feels more intentional than Beheaded has offered before. Most notably, the track “Il-kittieb” serves as a centerpiece not only for being the fifth track in the nine-track album, but as a sonic eye of the storm; while it utilizes the same tricks as its surrounding tracks, they are weaponized in a slow-building crescendo whose climax serves as the most satisfying moment of the album. Intertwined dissonant leads and ethereal solos collide in a 6/8 timing that feels like a waltz through hell. Even last full song “Jidħaq il-lejl” feels like a culmination of the two tracks preceding it, a riffy and ominous trek through dark territory. This structure makes it easy to forget the weak links, such as the frenetic and anchorless (“Xtrajt l-infern”) or the forgettable (“B’niket inħabbru l-mewt,” “Iħirsa”). The spoken word passages scattered throughout are also hit or miss.

Beheaded has forsaken their long-time forgettable signature in favor of something that ironically suits them better. Għadam is imperfect in its experimentation, but is surprisingly realized regardless, a consistent thread of viciousness and menace woven into all its movements gives exposure to its homeland, a culture tragically neglected in the annals of history. While “Maltese death metal” would have traditionally conjured images of brutal death’s relentless pummeling in Beheaded or Abysmal Torment, Għadam’s sinister and atmospheric approach to blackened death metal tinged with local dark lore and haunting melodics, even if imperfect, sets Beheaded out onto a new and unforgettable path.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Agonia Records
Website: facebook.com/BeheadedMT
Releases Worldwide: July 25th, 2025

#2025 #35 #AbysmalTorment #AgoniaRecords #Angelcorpse #Beheaded #Belphegor #BlackenedDeathMetal #BrutalDeathMetal #DeathMetal #Għadam #GodDethroned #Jul25 #MalteseMetal #Review #Reviews

Psycho-Frame – Salvation Laughs in the Face of a Grieving Mother Review

By Dear Hollow

Deathcore doesn’t give a shit. There was a moment when bands like Lorna Shore and Slaughter to Prevail attempted to make deathcore more accessible to other metal fans, incorporating blackened/symphonic textures or nu-metal influences. However terrible, solid, milquetoast, or well-intentioned you found it, that’s not the spirit of deathcore. Psycho-Frame has steadily been building a fanbase around their particularly unhinged take on deathcore with the release of 2023 EPs Remote God Seeker and Automatic Death Protocol, and we’re finally faced with a full-length debut: Salvation Laughs in the Face of a Grieving Mother. But don’t expect heavyhandedness – expect just heavy. Dumb heavy. Basically, the music for the sellout. Get those fists swingin’, Hot Topic frequenters! We’re goin’ to the mall.

Psycho-Frame embodies a trend in deathcore that is layered in nostalgia. Fearing that the style has lost its teeth, bands like the nation-spanning six-piece1 embrace the days of MySpace (think old-school Chelsea Grin or Bring Me the Horizon). It’s raw, groovy, and devastating, brandishing a brand wavering between thick-ass breakdowns settling on the ocean floor and lightning-fast blastbeats and unhinged technical thrills. Psycho-Frame otherwise benefits from a two-vocal attack, with Mike Sugars relying on a tough Frankie Palmeri bark attack while Jonathan Whittle offers fierce shrieks, horrific bellows, and the occasional pig squeal. It’s big, dumb fun that doesn’t overstay its welcome, embracing a savage edge contrary to contemporary acts off the same ilk: the rawness of Killing of a Sacred Deer or the melodic technicality of Thus Spoke Zarathustra. Psycho-Frame emerges as the elite, its loud and ouchy production amped to louder and ouchier, its vocal attack barbaric and ominous, and its songwriting whiplash-inducing. It’s everything you love – and loathe – about deathcore.

There’s little nuance in Salvation Laughs – if it’s thoughtful songwriting and careful construction you’re after, Psycho-Frame ain’t it. It doesn’t have a lick of the tragedy its title implies because, remember, deathcore doesn’t give a shit. It recalls the chaos of This is Exile-era Whitechapel, The Cleansing-era Suicide Silence, or self-titled Chelsea Grin in its chunky viciousness and stonewalled rigidity. Neck-snapping tempo shifts are a norm, downtempo Black Tongue chugdowns assaulting your ears one second before ravaging them with ripping blastbeats and shredding riffs. Riffiness is a trait not often expounded upon by deathcore, but it appears often throughout Salvation Laughs, giving an unexpected head-bobbing groove and pinch harmonics (“Blueprints for Idol Genocide,” “Endless Agonal Devotion”), jaw-dropping fretboard wizardry that recalls Beneath the Massacre and pairs neatly with numbskull density (“Apocalypse Through Lysergic Possession”), while slam’s gurgling lurch a la Ingested adds nice sonic depravity (“Filleted and Fucked,” “Still Water Salvation”). Each member offers his best, the dual shrieks and roars commanding charisma, the guitars offering flaying technicality and caveman knuckle-dragging meatheadedness equally, bass holding up the sound amid the fray, and drums retain a sharp metallic ring that adds to the unhinged quality Psycho-Frame possesses.

For the same reasons, some will love Psycho-Frame, others will understandably loathe it. In many ways, it feels like the insanity of mid-2000s deathcore distilled into a bullying thirty-eight minutes. It’s relentless, it’s over-the-top, and perfect to make frowny faces at while you windmill your way through the pit. That being said, some parts of the album are guiltier than others: when groove dominates, the result is an insane little number, but when that’s toned down to channel Suicide Silence, it sounds pitifully stale (“The Portal,” “BLACK_WAVE II”). Furthermore, there are short-lived spoken word samples scattered throughout the album, which provide more of a blush than the creepiness factor they are attempting to instill. But apart from the nitpicks, for nearly all the reasons mentioned in the paragraph above, Salvation Laughs in the Face of a Grieving Mother can be the thorn in a metalhead’s side – Psycho-Frame is truly an apt representative of deathcore.

For better or worse, Psycho-Frame is deathcore, and it doesn’t pretend to be anything else. It’s big and dumb, overly loud and obnoxious, with enough groove, rawness, and wonky tricks to carry its dual vocal attack into something resembling enjoyment. It’s a low-ceiling, low-floor situation, because Salvation Laughs in the Face of a Grieving Mother can either bring some fun into your day or utterly ruin it. I had fun with Psycho-Frame because of its refreshing simplicity and relentless brutality – but it’s still a cautionary tale.

Rating: 3.0/5.0
DR: N/A | Format Reviewed:
Label: Sharptone Records
Websites: psychoframedc.bandcamp.com | psychoframe.com | facebook.com/psychoframedeathcore
Releases Worldwide: July 25th, 2025

#2025 #30 #AmericanMetal #BeneathTheMassacre #BlackTongue #BringMeTheHorizon #ChelseaGrin #Deathcore #Ingested #Jul25 #KillingOfASacredDeer #LornaShore #PsychoFrame #Review #Reviews #SalvationLaughsInTheFaceOfAGrievingMother #SharpToneRecords #SlammingDeathcore #SlaughterToPrevail #SuicideSilence #ThusSpokeZarathustra #Whitechapel

Viogression – Thaumaturgic Veil Review

By Angry Metal Guy

By: Nameless_n00b_602

For every well-known, successful band, countless similar acts haven’t caught the same break or enjoyed the same recognition.1 For every Thou, there’s an Indian; every Abigail Williams, a Crepuscle; and every Obituary, a Viogression. One of the original but unsung stalwarts of death metal’s earliest days, Viogression formed in 1988 and released a well-received debut, Expound & Exhort, in 1991. The 1992 follow-up, Passage, failed to meet expectations, leading the band to take a three-decade hiatus. Their third full-length, 2022’s 3rd Stage of Decay, was praised for its old-school core and modern flair. Three years and a major lineup shuffle later, they return with their fourth full-length and first self-release, Thaumaturgic Veil. Promising a transcendent discourse on the interconnectivity of infinity and individuality, can this new version of Viogression maintain its momentum and deliver?

Like the good doctor, Vickie Franks, Viogression stitches together the genre’s most recognizable touchstones, but parts of themselves peek through, distinct from their influences. Sole remaining founder and vocalist, Brian DeNeffe, exhumes Obituary and Pestilence for his unintelligible rasps and howls, but employs impressive gutturals and layered screams of his own on “Vulnus Sclopetarium” and “Summon.” Guitarists Lief Larson and Johnathon Ibarra evoke the doomy vibe and disorienting, whip-crack tempo shifts of Autopsy and Asphyx (“Jinx,” “Light Extinguisher”), but the western dust on “Superposition” belongs to Viogression alone. An uncharacteristically twangy chorus and heavy distortion build an atmosphere for a clean, soulful guitar to cut through. Larson, Ibarra, and drummer Erik Schultek halve and double their tempos on “Renumeration” to create a pace both consistent and in flux. Punky album high point, “Pummeled,” sees DeNeffe acting as a rare counterpoint for a jazz-infused solo.2 These moments showcase the band’s excellent synthesis of influence and individuality when the stitches hold and the heart pumps strongly.

But the stitches don’t always hold; Thaumaturgic Veil suffers from indiscretionary inclusion, or poor compositional choices. Bassist Jason Hellman provides Cannibal Corpse-esque hooks (“Jinx,” “Travesty öv Darkness”) and a palpable heft to the album, but his performance often feels like parody. The opening basslines of “Superposition” and “As the Light Fades” plod and meander in ways that recall the tongue-in-cheek parts of Green Day’s catalogue. A recurring nasally guitar tone tries to instill unease but is instead repetitive and annoying (“Jinx,” “As the Light Fades”). “Eaten by Flies” invokes Polka and, like “Superposition” and “Summon,” is paratactical in its lyrical delivery, imitating amateur slam poetry. This disharmonious construction hamstrings Viogression’s ability to cultivate the philosophical and contemplative tone their subject matter requires.

Even with more consistent songwriting, Thaumaturgic Veil would still feel stitched together and disjointed. The album presents less as a coherent work and more as a series of vignettes. Each proper track (save closer, “Light Extinguisher”) is paired with an intro, giving the sensation of moving from painting to painting in a gallery rather than viewing one grand tapestry. It’s an interesting idea, but it fails for three reasons. First, these intros don’t bleed into their songs. I struggled to find a correlation in these pairings, whether musically, thematically, or lyrically. Second, without stronger connective tissue, these intros only add bloat to a relatively lean record.3 Third, and most damning, they prohibit the listener from building any momentum throughout Thaumaturgic Veil. This start-stop-start-stop structure makes the album feel twice as long as it is and turns every spin into a test of endurance.

While I can applaud the ambition of Thaumaturgic Veil, the execution ultimately falls short. “Pummeled,” “Renumeration,” and “Vulnus Sclopetarium” show that Viogression has the chops to write and perform a great, concise album, but uneven songwriting quality and an interrupted flow mar what could have been a prime offering from the old guard. Either of these flaws in isolation would have been manageable, but taken together, their impact compounds. There’s potential here, and with tighter threading and a more cohesive structure, I have no doubt Viogression could achieve the recognition they deserve.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: viogression.info | Bandcamp | Instagram | Facebook
Releases Worldwide: July 11th, 2025

#20 #2025 #AbigailWilliams #Asphyx #Autopsy #Autospy #CannibalCoprse #CannibalCorpse #Crepuscle #DeathMetal #GreenDay #Independent #Indian #Jul25 #Obituary #Pestilence #Review #Reviews #SelfRelease #ThaumaturgicVeil #Viogression

Cordyceps – Hell Inside Review

By Angry Metal Guy

Written By: Nameless-N00b_604

Artists don’t necessarily need to draw deep from their inner lives to make enjoyable art, but they do to make great art. Denver, Colorado’s Cordyceps—whose debut EP drew acclaim from the late, great Trevor Strnad—have dug deep on their sophomore album Hell Inside and dredged up something nasty. A meditation on struggle, pain, and the time an ex-friend stabbed vocalist Rafael Gonzalez three times in the chest, Hell Inside portrays the tortured psyche by way of a metaphorical cordyceps fungus infecting and ravaging the mind. Cordyceps have done the soul searching needed for something special. But is it something special?

The title Hell Inside isn’t only a declaration of the album’s themes: it’s also an apt description. Paces shift frenziedly on “Filth” and “I Am Hate” while riffs chug and squeal on “Obliterate” and “Flock of Sheep.” Hell Inside’s guitar solos evoke Slayer with DeLorean Nero’s dive-happy antics (“Murder All,” “Flock of Sheep”) while drummer Michael Nolan commits percussion abuse with concussive and groovy octopus-handed drum fills. Meanwhile, bassist Chris Rosset brings a clicky, bludgeoning Cannibal Corpse-like tone and aggression throughout the runtime. Though death metal to the core, Hell Inside emits the occasional whiffs of thrash (“Flock of Sheep,”) doom (“Diseased Mind”), and even a little Panteraesque groove metal qualities (“I Am the Plague”) to stir up the mix. Much of Hell Inside’s appeal is that – bear with me – of deathcore, reveling in ridiculously down-tuned riffs, start-stop rhythms, and brown-note vocals. But Cordyceps isn’t beholden to deathcore’s reliance on breakdowns and instead fuels their pandemonium with a near-relentless fervor at times reminiscent of Ascended Dead’s Evenfall of the Apocalypse. Instrumentally, Hell Inside possesses the callousness of industrial machinery biting through fingers and is sure to nuke any unprepared listeners into fine assdust.1

But where Cordyceps’ vulnerability – their volatility – originates is Gonzalez’s vocals, the easy highlight of Hell Inside. He hardly sounds human, spitting wet, unhinged gurgles that at times sound like Lovecraftian squid-men (“Diseased Mind”), dying animals (“Obliterate”), Afterbirth’s Will Smith (“Regret”), and, at 2:14 in “Obliterate,” the nightmare echoes from the truck stop toilet bowl of Hell. But there’s a technicality behind Gonzalez’s vocals, too: see the obscene low notes of “Diseased Mind” or the twenty-six-second run in “Obliterate” taken in what sounds like one breath. Through it all, Gonzalez seems to muster every negative thought he’s ever had, evoking feelings of inner turmoil, misanthropy, and betrayal in manners both disturbing and cathartic. In short, Gonzalez’s vocals are the lifeblood in Cordyceps’ candidemia-ridden arteries.

The blood runs somewhat cold, however, when crafting standout moments. No song is a stinker, and runtimes never drag, but the formula of chug-chug-trem-GUUUUUURGLE dilutes eventually. While the closer “Regret” is as good as the opener “Filth” in a vacuum, it’s not as engaging forty minutes later. The band also over-employs start-stop breaks to transition between movements, which are effective on early tracks like “Filth” but become predictable with overuse. The few atmospheric bookends on Hell Inside, like the piano-closing “Suffocating,” feel superfluous. Rather than merging one novel idea with another, they just bridge one onslaught of death metal to the next. Generously, they can be seen as breaks for your ears, an unfortunate necessity given the album’s strident, undynamic mix. It’s got its memorable moments – the singular synth tone in “Diseased Mind,” Gonzalez’s declaration that he’s “GONNA BLOW [his] FUCKING BRAINS OUT” in “Murder All” and the aforementioned toilet deluge from “Obliterate” – but Cordyceps found something good on Hell Inside and perhaps did too much of it.

Hell Inside is a buckshot to the brain of visceral death goodness, an unbending divulsion into mankind’s worst tendencies. Though I don’t think it’ll draw in many who aren’t already sold on brutal death metal, its fans are sure to embrace this entry into the subgenre. Monotony issues notwithstanding, Hell Inside is a twistedly fun listen, and hopefully Cordyceps will one day take the rage and talent they brought here and turn it into something even more adventurous and memorable that’ll grow fungi in my brain. After what they did in there already, there’s room enough for a new growth.

Rating: Good
DR: 5 | Review Format: V0 MP3
Label: Unique Leader Records
Website: uniqueleaderrecords.bandcamp.com | facebook.com/cordycepslv | Instagram.com/cordycepslv
Release Date: July 25, 2025

#2025 #30 #Afterbirth #AscendedDead #BrutalDeathMetal #CannibalCorpse #Cordyceps #DeathMetal #Evenfall #HellInside #Jul25 #Pantera #Review #Reviews #TrevorStrnad #UniqueLeaderRecords

Atomic Witch – Death Etiquette Review

By Tyme

Cleveland, Ohio’s death thrash quintet, Atomic Witch, began as Bulk & Skull in 2012—a nod to the comic relief duo from Mighty Morphin Power Rangers—before changing their moniker in 2016. After releasing a few singles and EPs, Atomic Witch partnered with Redefining Darkness Records and producer Dan “The Man” Swanö for their debut album, Crypt of Sleepless Malice, in 2022, which created a splash in the death thrash pool with its visceral riffs, horror-themed lyrics, and completely unhinged vocals. Three years of lessons learned later, Atomic Witch and new producer Noah Buchanan (Nunslaughter, Solipsist) at Cleveland’s Mercinary Studios have reopened the crypt to unleash sophomore effort, Death Etiquette, upon the phantasmic masses. Do these Midwest marauders have what it takes to infect a crowded scene even further, or should we stake this vampire’s heart now and slam the coffin door shut?

As Death Etiquette comes not only crashing through but completely mangling the gate, it’s clear Atomic Witch hasn’t tweaked their formula. In just over two minutes, album opener “Morgue Rat” packs everything Atomic Witch does well into one brief, bristling bruiser. Frenetically furious riffing melded with drummer Nick Amato’s (Axioma) rolls and fills hit you right between the beady eyes before the track settles into a nice, mid-paced chug-a-lug. Like Stallone turning his trucker hat around in Over the Top, when singer Nick Martinis pulls his neon green ski mask down over his face, shit’s about to get real, and when he delivers the very cheeky Drowning Pool-ish line “Let the bodies hit the morgue,” it’s also clear Atomic Witch don’t take themselves too seriously. New bassist David McJunkins’ low-end rumblings, in conjunction with Amato’s battery, keep the frantic riffs and twisted solos of Jesse Shattuck and Jonah Meister in check. Death Etiquette delivers short and sweet thrash first and foremost, falling somewhere amidst the sonic Bermuda triangle of Slayer, Forbidden, and Xoth. At the same time, there are sprinkles of Sentient Horror-like death (“Of Flesh and Chrome”) and a little bit of black metallicism (“Dream Rot”) boiling in Atomic Witch’s cauldron. Performances reign supreme here, and it’s the vocal pyrotechnics that take center stage.

Eschewing the punkier, more straightforward approach of fellow Midwest acts like Midnight and Wraith, Atomic Witch differentiate through the crazed vocal tandem of Martinis and Shattuck. Betwixt the two, Martinis carries the bulk of the responsibility, and his snarly screams—reminiscent of Havok’s David Sanchez—bring some extra lethality to the material and highlight the catchy choruses (“Morgue Rat,” “Worms and Dirt”). While the completely bonkers, high-pitched, full-throated power falsettos—landing within Rob Halford, King Diamond, and Mark Osegueda territory—and deep, guttural growls of Shattuck serve as an insane accompaniment to Martinis’ raspy delivery (“Death Edging (Come to the Light)”). Both coalesce perfectly on my favorite track, and album closer “Vicious Mistress,” a Venom song title if ever there was one. Carrying over from the debut’s “Love Curse,” the track features a swaggering groove composed of bendy chords and flirty riffs, the high-low vocal trade-offs accentuating the hectic solos and furious instrumentals with a romping effect.

Death Etiquette benefits from Noah Buchanan’s rawer production. As masterful as Swanö is, I found the mix on Crypt of Sleepless Malice too mutedly polished. And while Atomic Witch may have sacrificed some DR in the process, the slightly louder mix works for me with this material. A testament to cohesiveness, the songwriting on Death Etiquette is tighter and more focused too, as Shattuck and Meister continue to refine their ability to craft engaging music. And while even the shorter tracks feel fully resolved, despite their brevity, the twenty-seven-minute runtime did leave me wanting a little more meat on my plate.

Atomic Witch continue to make a name for themselves in the death thrash space, and Death Etiquette is another solid step forward. And while they’re not doing anything too groundbreaking or boundary-pushing, these two first noteworthy releases indicate a band embarking on a decently consistent career. I suppose only time will tell. Atomic Witch seems like a fun band, and I found Death Etiquette a fun listen. I’d certainly opt to catch them, and their ski-masked frontman, live should they make a stop anywhere near my stomping grounds. I’ll be spinning Death Etiquette more as this humid summer trudges on and will be keeping my eyes peeled for what Atomic Witch does next.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #30 #AmericanMetal #AtomicWitch #DeathEtiquette #DeathMetal #Forbidden #Jul25 #Midnight #RedefiningDarknessRecords #Review #SentientHorror #Slayer #ThrashMetal #Wraith #Xoth

Vertebra – The Same Review

By Angry Metal Guy

By: Nameless_n00b_601

There’s no shortage of bands trying to bottle the lightning of Death’s progressive era. Between groups like Horrendous, Paranorm, or even not-quite-cover-band Gruesome—whose recent take on Human with Condemned Identity is the band’s most exciting effort—there are plenty of impressive takes on Chuck Schuldiner’s revered late-‘90s output. Enter Vertebra: a Brazilian act that formed in the mid-‘90s, Vertebra disbanded before releasing a debut album. Now, in 2025, they have re-emerged from the sands of time with a mission to finally finish what they started. Their long-overdue debut release, The Same, promises a slab of progressive death/thrash which balances “raw edges” with “melodic awareness” in a way that “defies the passage of time.” Can these reunited rockers craft a collection of tunes that innovates and stands alongside their clear inspiration? Or has their time apart left us with a batch of songs that feel, well, The Same?

Vertebra’s take on death/thrash is firmly rooted in the sound of albums like Symbolic and The Sound of Perseverance, but it’s supercharged thanks to the dynamic guitar work of Arildo Leal and Fernando Luzardo. The duo rarely stays in one mode for long, shifting between acrobatic riffing and soaring melodic leads, often favoring the harmonic minor. This is the scale that classic Death melodies like “Lack of Comprehension” are in—it sounds “Egyptian” for lack of a better descriptor. Whether it’s Kreator-tinged thrash gallops (“Oblivion”), aggressive death metal tremolos (“Architecture of Perspective”), or proggy suspended-chord riffs (“Fanatic and Picturesque”), the two guitarists glide between styles with confidence, driving these constantly evolving compositions. The Same also features significantly more lead and harmony work than classic Death albums, which largely relegate leads to dedicated solo sections. Those are present here as well, and they’re impressive and reminiscent of James Murphy, especially, but Leal and Luzardo present a much more fluid take on leads, weaving them in and out of standard riffs (“Humanity”) and sweeping melodic sections (“Blessed Are the Forgetful”). Occasionally, this can distract from the effective simplicity of certain moments, but overall, their distinctive approach is one of Vertebra’s key strengths.

That same sense of urgency and exploration extends to Vertebra’s rhythm section—sometimes to the detriment of the songs and, by extension, the album as a whole. Drummer Cristiano Hulk (yes, really) brings a rock-solid, Bill Andrews-esque backbone to the material, but it’s bassist Tiago Vargas who often takes center stage. His hyperactive, “lead bass” approach recalls a blend of Steve DiGiorgio and Geddy Lee. Rarely does Vargas follow along with the rhythm guitars, instead opting for dexterous, serpentine basslines that give an Atheist flair to much of the record. Often, this accents the part nicely and provides a bit more instrumental nuance to any given section, but when it doesn’t—during a big chorus (“The Same”) or melodic section (“Fanatic and Picturesque”)—this highlights The Same’s biggest issue: a lack of definitive, memorable hooks to contrast with its rapid pace. A Death song like “Spirit Crusher” works as well as it does because its simple, primary chorus riff provides both a breather and release from the adventurous parts which surround it. Vertebra has no shortage of solid riffs and interesting sections that usually transition fluidly in and out of each other, but lack emphatic or iconic moments that make each song stand out.

This places The Same in an interesting predicament, where all of its tracks are remarkably consistent and varied in their own way, but as an album, I’m hard pressed for individual moments that beckon repeated listens. Vertebra succeeds with numbers like the sprawling “Behind the World,” the Masvidal-inspired “Overcoming the Void,” and mid-tempo prog-ripper “95 Eyes,” but much of the track list struggles to leave a lasting impression, even after a week of listening. Part of the issue lies in Arildo Leal’s vocal delivery. His high-pitched, raspy bark is serviceable in verses and suits the style (a less favorable description might claim it sounds like Dave Mustaine doing his best Quorthon impression), but it falters in the choruses, many of which rely on simple, repeated phrases (“Behind the World,” “Humanity,” or “The Same”). This puts more pressure on the songwriting to carry the weight, but it can get lost in the album’s relentless pacing.

The Same is a frustrating record to evaluate. It’s clearly good but missing the extra “oomph” of something great.1 Vertebra demonstrates a thorough understanding of the ins and outs of what makes late-‘90s Death engaging and puts its own unique spin on the material with oodles of instrumental embellishments. As a debut, it’s strong and satisfying in its way, but it doesn’t quite rise to meet the standard set by its peers. If Vertebra ever produces a follow-up, maybe next time they can focus on making sure the songs don’t sound The Same.2

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Xtreem Music
Website: xtreemmusic.bandcamp.com/album/the-same
Releases Worldwide: July 29th, 2025

#2025 #30 #Atheist #BrazilianMetal #Death #DeathMetal #DeathThrash #GeddyLee #Jul25 #Kreator #Review #Reviews #SteveDiGiorgio #TheSame #ThrashMetal #Vertebra #XtreemMusic

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Azure Emote – Cryptic Aura Review

By Owlswald

Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.

Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.

Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.

While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.

Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.

Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025

#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile

Jordfäst – Blodsdåd Och Hor Review

By Killjoy

Sweden is a metal country in more ways than one. As I just learned from the promo blurb for Blodsdåd Och Hor, the iron and steel industry has been an integral component of its economy and culture for centuries. Of course, Sweden is not lacking in metal from a musical standpoint either. Jordfäst is the latest of these purveyors, whose brand of melancholic black metal seeks to honor their country’s long history of metalwork and warfare, mixed with a healthy dose of Norse mythology from the poem “Völuspá”. Blodsdåd Och Hor marks Jordfäst’s third full-length record since its formation in 2017. Time has proved Swedish metal to be extremely high quality, but what about Jordfäst’s?

The music may be melancholic, but Jordfäst gravitates towards the action-packed side of black metal rather than the atmospheric. Guitarist Elis Markskog prefers keen riffs and epic solos over icy tremolo picking and ambient synths, like a more sullen version of Havukruunu. There are more than a few nods to forebear Bathory’s Viking era in the form of pagan folk tunes and deep, resonant male singing (also by Markskog) to complement Olof Bengtsson’s sharp, staccato barks. Jocke Unger, now Jordfäst’s permanent drummer, buoys up the music even further with aggressive and bouncy rhythms. With a tight runtime of 35 minutes, Blodsdåd Och Hor is both lean and mean.

Blodsdåd Och Hor is quite literally a tale of two halves. Jordfäst does not break tradition with prior albums in that there are only two songs, each 17 minutes and sectioned into four separate tracks. The first half (“Ett altare av skärvor”) is steely and frigid, a harsh dissonant edge gleaming from the guitars. Jordfäst adeptly straddles the line between dissonance and melody, like in “Ett altare av skärvor, pt. 3” when clanging chords morph into a sinister, crooked tune. Blodsdåd Och Hor gradually warms up as it progresses through the second half (“Dit gudarna trälar är”), with more frequent Istapp-style clean singing and technical guitar solos to blast away the frost of the first half. “Dit gudarna trälar är, pt. 4” culminates with a hearty folk tune that hits like a blazing hearth fire after coming home from a cold mountain trip, a gratifying conclusion to the album. Even though, to my knowledge, no actual folk instruments are present, the Nordic roots are apparent in the robust musical compositions.

But, aside from these isolated noteworthy moments, Blodsdåd Och Hor tends to resist memorability as a whole for some reason. On paper, it has many qualities that I value in a record: dynamic songwriting, meaningful melodies, passionate ferocity, and a trim runtime. But maybe that’s part of why it’s not completely grabbing me—like a jack of all trades, Jordfäst is good at many things, but doesn’t feel quite exceptional in any. Or maybe (perhaps more likely) my taste is simply fickle. It might help if the volume were balanced more evenly between the principal harsh vocals and the clean backing vocals, as the former often feel too loud in the mix while the latter are often too faint. I’d also like to hear more Scandinavian folk influence seep into the guitars. It would likely go a long way to making Jordfäst stand out amongst their peers in this monochromatic genre we call black metal.

Jordfäst strikes a good balance between modernity and centuries of cultural heritage. Their melancholy approach to riffs ought to appeal to a wide variety of listeners; fans of second-wave black metal, dissoblack, and folk should find something here to enjoy. Though there aren’t too many standout moments that really resonate with me, Blodsdåd Och Hor is nevertheless very solid. I like Jordfäst’s practice of writing only two long-form songs per album, as it allows for ample development of ideas without blowing up the entire runtime. Make sure to pack winter gear if you choose to embark on this trek because it will be cold!

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: jordfst.bandcamp.com | jordfast.net | facebook.com/jordfastband
Releases Worldwide: July 25th, 2025

#2025 #30 #Bathory #BlackLionRecords #BlackMetal #BlodsdådOchHor #FolkMetal #Havukruunu #Istapp #Jordfäst #Jul25 #Review #Reviews #SwedishMetal #VikingMetal

Clairvoyance – Chasm of Immurement Review

By Maddog

Yes, I picked this up entirely because of its cover. Girardi’s gorgeous spiral of tombstones and skeletons conjures vintage highbrow death metal of the likes of Death. The title Chasm of Immurement grasps at brutal badassery in the vein of Suffocation’s Effigy of the Forgotten. Clairvoyance’s logo remains indecipherable even if you know the band’s name, suggesting kvltness galore. The promo materials describe lyrics that address the isolating effects of depression, foreshadowing a harrowing listen. In isolation, each of these judgments strikes at the truth but glances off. Chasm of Immurement is the debut album from Poland’s Clairvoyance, an unknown band comprising unknown musicians. Lying at the intersection of brainless death-doom and brainiac digressions, Chasm of Immurement is a powerful foray into death metal.

A first pass through Chasm of Immurement suggests primitive death metal with a dollop of doom. “Eternal Blaze” opens the album with a bang that recalls Faceless Burial’s Speciation. After grabbing me by the anus, Clairvoyance maintains its hold by alternating between mid-range Obituary riffs and lurching Autopsy-style death-doom. These lowbrow highlights feel both as slimy and evolved as an amoeba. With both its riffs and its guitar tone, Chasm of Immurement leaves a palpable layer of grime that justifies multiple colonoscopies. “Blood Divine” emerges as a late gem through riffs that are gory enough to draw blood and enormous enough to evoke Immolation. This isn’t isolated to a subset of the tracks; throughout its runtime, Chasm of Immurement alternates between a sixteen-wheeler and a used minivan without dulling its fun.

On your fifth listen, Clairvoyance’s experimental bent comes into view. The same doomy riffs you’d heard before reveal spooky foreground melodies (“Reign of Silence”). The same track that you’d interpreted as a caveman ditty blossoms in baffling melodic directions in its second half (“Eternal Blaze”). The same song that introduced itself as by-the-books death metal culminates in a monstrous doomy climax (“Fleshmachine”). The same sections that you’d dismissed as repetitive transform into home bases for grimy excursions, interfering with your sleep schedule and your family obligations. Adorning hefty riffs with sinister melodies, Clairvoyance recalls both Lovecraft’s Azathoth and Morbid Angel’s Trey Azagthoth. It took me a while to realize that I was doing Chasm of Immurement an injustice by pigeonholing it into old-school death metal. It is indeed that, but it’s so much more.

Clairvoyance’s varying ambitions both empower and dilute each other. Spanning 34 minutes across 6 tracks, Chasm of Immurement is a concise collection of lengthy tracks. Some of its pieces wander, especially at their simplest. For instance, despite being the second shortest track, “Blood Divine” feels lengthy because of its dearth of creative ideas. Similarly, the shortest song, “Eternal Blaze,” suffers from riffwork that’s decent but unimaginative, before eventually redeeming itself with more variety. Even so, these flubs are rare. The six-minute “Hymn of the Befouled” is the starkest counterexample, balancing length with girth by combining a vicious off-kilter main riff with melodic escapades that hold me rapt. Parts of Chasm of Immurement could do a better job of remaining engaging, but it’s hardly a fatal flaw.

Balancing thoughtful death metal and anti-intellectual death-doom, Clairvoyance’s debut is as weird as it is powerful. Neanderthals who need their fix should look here, as Chasm of Immurement’s crushing death metal riffs rival the best of old-school death metal. Conversely, fans of Morbid Angel’s wonkiness or Tomb Mold’s shapeshifting shenanigans will find just as much to love here. Chasm of Immurement is unlikely to dethrone Faithxtractor’s Loathing and the Noose atop my 2025 death metal ranking, as its occasional meandering loses my interest. But it’s a promising debut from a crew of talented Polish fiends.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: carbonizedrecords.bandcamp.com | facebook.com/clairvoyancedeathmetal
Releases Worldwide: July 18th, 2025

#2025 #35 #Autopsy #BrutalDeath #BrutalDeathMetal #CarbonizedRecords #ChasmOfImmurement #Clairvoyance #Death #DeathDoom #DeathMetal #DeathDoomMetal #FacelessBurial #Immolation #Jul25 #MorbidAngel #Obituary #PolishMetal #ProgDeath #ProgressiveDeath #ProgressiveDeathMetal #Review #Reviews #Suffocation #TombMold

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

Machina Kore – Ghosts of Everest Review

By Kenstrosity

Identified as “Groovy Power Metal” in our promo bin, Irish independents Machina Kore promise something that pushes past genre convention while still delivering high-octane, high-quality steel. With their latest release, entitled Ghosts of Everest, Machina Kore offer up ten tracks (two of which are remasters of earlier single releases) across roughly an hour—fairly standard if we use power metal as a baseline. Thematically, Ghosts of Everest tackle an emotional subject matter largely surrounding the highs and lows of life as brought on by both forces beyond control and our own actions/reactions, and of resilience and growth only ever manifested by perseverance. The question remains, would a release like Ghosts of Everest persevere in the midst of a crowded field of steely wares?

One thing is for certain: Machina Kore is not your standard power metal record, and claims of groove earn more than their keep. In fact, Ghosts of Everest is more groove than power, but that’s not necessarily a bad thing. The power of riffs is strong with this one, bolstered further by uncharacteristically meaty guitar and bass tones which approach death metal or sludge in crunch and heft. However, song structure and arrangement more closely follow the blueprint of riffy power metal innovated by Nevermore, after a lurid dalliance with alternative names like Sevendust1 and Nonpoint. A sense of grandeur not unlike Borealis runs through many of these numbers as well, contributing to the 5-7 minute average song length and winding choruses. Altogether, the experience is an unusual mix that took some getting used to, but there’s merit to Machina Kore’s execution here that proves Ghosts of Everest’s concept holds water.

Ghosts of Everest offers many cool moments, often separated by wide swaths of material that range from decently engaging to meandering. Its first three songs proper (excluding the overlong, but gentle into “Silver”) offer the best encapsulation of Machina Kore’s sound when it works best. Swaggering grooves, tectonic riffs, and serviceable choruses allow these tracks to strike while the iron is hot, impressing upon its audience its unorthodox sound and generous helping of crushing guitars. And while those heavily distorted guitars shine throughout, it’s not until the meat of the record that they make their biggest impact. A massive one-two punch, “Goliath” and “Death Mask” offer energetic grooves, thunderous tones, and dynamic shifts in style and structure. Nonetheless, they feel unified with the material surrounding them, which allows for smooth transitions in and out. In a different way, epic closer “Ghosts of Everest” makes a mark as well; this time, striking use of melody cooperates with the album’s finest vocal display to exit on a powerful note capable of selling listeners on a follow-up spin.

Unfortunately, those aforementioned swaths of meandering material conspire to unravel immersion and redirect to boredom. Every song preceding “Goliath”—and several afterwards—opens with at least a minute and a half of repetitive jamming. While they do a great job of creating an initial burst of momentum, inertia gets the best of them quickly, coming close to a standstill before finally hitting the gas again. This problem persists in bouts across Ghosts of Everest, with wandering numbers “Alpha Luna” and “Breathe” offering some decent to very good ideas every now and then, only to be undone by long stretches of composition unsure of its direction or purpose. The occasional guitar solo alleviates this problem to some degree, in concert with some clever drumming (this is primarily what helps “Death Mask” stand out, in fact). Alas, it’s not quite enough to carry 6 minutes plus of uninspired material. As a final note, the albeit competent post-grunge vocals aren’t always the best fit for this sound (“Stone to Farewell”), with the one caveat that they often inspire a fair measure of nostalgia (“Sober”).

All that said, Machina Kore has a ton of potential, and it wouldn’t be too difficult for them to realize it. Their biggest hurdle going forward is one of writing and of editing, wherein songs need tightening, streamlining, and focusing. All of the right elements are there, from tone to riffcraft to the unlikely melding of disparate styles. They just don’t quite gel into a final product that feels greater than the sum of its parts yet. With time and a little perseverance, I’ve no doubt that Machina Kore can bring me to the peak next time around.

Rating: Mixed
DR: N/A | Format Reviewed: STREAM 2
Label: Self-Release
Websites: machinakore.bandcamp.com/album/ghosts-of-everest | facebook.com/MachinaKore
Releases Worldwide: July 25th, 2025

#25 #2025 #AlternativeMetal #Borealis #GhostsOfEverest #GrooveMetal #HeavyMetal #IrishMetal #Jul25 #MachinaKore #Nevermore #Nonpoint #PowerMetal #Review #Reviews #SelfRelease #Sevendust

Recorruptor – Sorrow Will Drown Us All Review

By Alekhines Gun

One of the most entertaining things about describing death metal in any of its iterations is the limitless well of hyperbolic descriptors one can conjure. Older monikers like “crushes,” “brutalizes,” and “heavy” have given way to fun artistic notions like “being attacked by killer bees,” “gored by rabid rhinos,”1 and “being mated with by a coked out giraffe.” My own newest favorite phrase came by way of one of our loyal commentariat in the phrase “Taint kicker”. Michigan locals Recorruptor have arrived with their third LP, Sorrow Will Drown Us All, and it seeks to continue to force the listener to dig deeper into their well of artistic metaphors to describe the raw carnage on display. Are you up for a swim?

Like frosting with copious sprinkles on an extra chunky cake, Recorruptor use a hodgepodge of ingredients traversing from blackened deathcore to death metal and slam proper. This results in an album that is chuggy, blasty, slammy, and wammy, without easily being pigeonholed into any particular subgenre. A Venn diagram of sound neatly intersecting between Aborted, Cognitive, Cattle Decapitation and Lorna Shore, Sorrow Will Drown Us All flings the listener from one prolonged-shriek-laden chugging presentation with lightly strummed atmospheric lines (“Bearing the Befouled Spawn”) to vaguely OSDM melodic theatrics (“An Unnatural Lust”) without missing a beat or any part sounding out of place. The cohesiveness of songwriting is reflected in how each part is carefully composed for maximum impact without sounding like an unfocused collection of disparaging riffs. Recorruptor have opted for violence on a cinematic scale using a Batman-sized utility belt of tools to get their themes across, and those themes come in abundance.

This diversity of stylings means standout moments will depend entirely on what ingredient you’re most into. “Urn of Verglas” offers up a jumbo-sized plate of green eggs and slam, which is gleefully Ingested in its blunt simplicity, but rendered extra septic by contrast of the ruthless speed of what came before it. “Envenoming” is straight Cattle Decapitation worship with its atmospherics-rooted sense of grind and vocalist Clint Franklin doing a great impression of Travis Ryan at his most esophagus-abusing.2 “Insidious Rot” starts out with modern death metal groove before devolving into a prolonged breakdown set well beyond two-stepping pace and spotlighting some thunky chunky bass from Alex Schmidt. Guitarists Seth Earl and Isaac Marier slather the entire release in solos, which never lose their sense of tension and release to guitar hero wankery.

Where Sorrow Will Drown Us All fails is in the same way cakes can be too rich—too much of a good thing is real, and food is not the only victim. While every song is killer, they’re also long in the tooth and produced more abrasively than the DR would suggest. Vocals also follow the maddening modern trend of bathing the music almost nonstop rather than letting it breathe.3 There’s no denying the technical prowess and kaleidoscopic nature of the performances on display, but the album is so crammed with ideas that it feels much lengthier than its not unreasonable 48-minute runtime, and the two symphonic cuts do little to break up the whole into more palatable chunks. The name of the game for Recorruptor is going to be self-editing. If they can trim down the bulk of their ideas to more immediate offerings, they’ll be ready to blast and brawl their way to the top of the blackened deathcore heap without setting off genre purists in the process.

Sorrow Will Drown Us All is a caliber album, and if you’re a sucker for any of the various bands listed, you’ll find much to love here. There is sonic succulence reminiscent of meat grinders, bulldozers, horny wild animals, and yes, even taint kicking. Nevertheless, the final product topples under its own weight from the sheer glut of ideas on display. Quality ideas though they be, the album is so full of them that they end up fighting for the listener’s attention after the album has long ceased to play. I’m rooting for Recorruptor to hone in on their skillset and opt for a less-is-more approach. For now, grab a fork and let the sorrow get you into a diabetic coma.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Time to Kill Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: July 18th, 2025

#2025 #30 #Aborted #AmericanMetal #BlackenedDeathcore #CattleDecapitation #Cognitive #DeathMetal #Ingested #Jul25 #LornaShore #Recorruptor #Review #Reviews #SorrowWillDrownUsAll

Re-Buried – Flesh Mourning Review

By Steel Druhm

My second discount ticket to Scum Town in one week and the third since July started, Re-Buried’s sophomore outing, Flesh Mourning, brings more gruesome death to wallow in. These cretins of the crypt left a favorable impression on Olde Steelio with their 2023 Repulsive Nature debut, courtesy of hideously inspired death vocals and crushing riff work. It felt massive, monolithic, and inevitable, and the sheer weight of it all overcame occasional gaps in their songcraft. Flesh Mourning is more of the same festering, moldy-oldey brand of death with one foot in the morgue and the other in the swamp, with vocals that sound like a dying hobo wrenching out the contents of his ulcerated stomach after a long night of on-the-cheap debauchery. And like the debut, Flesh Mourning is short, leaning toward anorexic. How can that recipe fail to earn a Michelin Star at the Slop House of Steel? Let’s poke the putridities with the pokey stick

Things open promisingly enough with vocalist Chris Pinto vomiting forth a feral hairball before the slime-flavored riffs kick in, and you get a standard yet basically effective mid-tempo death ditty without bells and whistles, but plenty of creepy atmosphere and phlegmy noises. It’s essentially Autopsycore, but lacking the jackhammer power heard at key moments on Repulsive Nature, and it feels a bit…safe. “Jagged Psyche” feels more brutish and nasty with extra vigor in the riffs, but the band seems stuck in a mid-tempo plod and struggles to kick into higher gears. This quickly becomes the story of Flesh Mourning as song after song duplicates these middling tempos with everything motoring along at a safe speed with too few bursts of speed and aggression. Worse still, the tracks aren’t as memorable as last time, and they all sound way too similar due to the consistent pacing and writing style.

“Rotted Back to Life” features some extra-heavy grooves that wake you up a bit, but it’s hard to shake the nagging feeling that this is all standard and recycled fare without an identity of its own. As things grind along in a “we have Bolt Thrower at home” manner with little variation in pacing, it falls to Chris Pinto to keep things interesting by deploying all manner of hideous sounds and monster moaning. He apes a staggering ghoul or a hospice patient in agony, and it’s impressive, but it isn’t enough to keep the material from bleeding into a big, greasy mush where one song becomes indistinguishable from the next. At just under 30 minutes, there isn’t much meat on the corpse bone, and things end with a 2-plus minute instrumental outro that’s all atmosphere and no payoff. It’s clear Re-Buried didn’t have a wealth of inspiration in the writing room and struggled to churn out a mere handful of basic, generic death ditties. That’s quite disappointing.

Chris Pinto is the star here, as he’s one of the most committed death metal vocalists out there. His weird body horror noises are wild, especially his hairball trick, which features prominently across the album. He’s a gem in search of a skilled jeweler, as the material he’s given to work with simply doesn’t deliver the knockout power his performance deserves. Paul Richards and Eddie Bingaman know all the death metal tropes and tricks and craft spot-on impersonations of classic Autopsy and Incantation fare, but so much of what they do here revolves around mid-tempo chugging and slight variations on the same kinds of swampy riffs, so it takes a hyper-intense listen to divine the differences between the individual tracks. If they wanted to create a 26-minute uni-glob effect, they accomplished it.

Flesh Mourning is a step backward from Repulsive Nature. The blunt force of the prior album is simply not here, replaced by a pornucopia of monotonous riffs and crazed cavern hollaring. It doesn’t stick or hold the attention, and while there are isolated cool/interesting bits and pieces, it’s really just off-brand Autopsy with Tomb Mold on it, and it’s devoid of songs that scream replay or demand dissemination onto playlists. It seems Re-Buried lack a potent muse and can’t craft a full-length album with consistently killer tunes, and they’re trending downwards early into their career. I hope for a speedy recovery, but the patient’s prognosis isn’t looking good.

Rating: 2.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Translation Loss
Websites: re-buried.bandcamp.com | facebook.com/reburieddeath | instagram.com/reburied_death
Releases Worldwide: July 18th, 2025

#20 #2025 #AmericanMetal #Autopsy #DeathMetal #Disma #Incantation #Jul25 #ReBuried #RepulsiveNature #Review #Reviews #TombMold #TranslationLossRecords #Undeath #Undergang

Mawiza – ÜL Review

By ClarkKent

Mawiza, an indigenous band from Wallmapu, a territory out of South America’s Mapuche Nation (spanning Chile and Argentina), has seen a sudden rise in recent years. Formed in 2014 as Nunca Seremos Dichosos, their second album, 2019’s Kollong, would go on to win them Chile’s version of the Grammy awards (called the Pulsar Award) for Best Metal Artist. In 2021, they adopted the name Mawiza and decided to sing entirely in their ancestral language, Mapuzungum, instead of Spanish. Their music garnered enough attention from Gojira, Mastodon, and Mercyful Fate to open shows for them in front of large crowds, and Gojira’s Joe Duplantier even collaborates on a song with them. To top it off, Seasons of Mist saw enough in Mawiza to sign them ahead of the release of their debut, ÜL. 1 They’ve got quite a story, and now we find out if they have the goods.

The word ÜL means chant, and that’s a good description for their overall musical approach. Lead singer Awka Mondaka delivers a chant-like vocal performance, and the guitars and drums play a start-stop rhythm that complements Mondaka’s chants. Gojira’s influence is undeniable in the form of pinch harmonics and slides that constitute major instrumental techniques. The intro to “Wingkawnoam” sets the stage for the harmonics, and hardly a minute passes on ÜL without hearing them. Mawiza uses the combination of pinch harmonics, guitar riffs, and heartbeat-like drums to create a groovy sound that’ll get you bouncing and swaying side to side. A couple of breakdowns (“Ngulutu,” “Nawelkünuwnge”) lend a metalcore touch, though their overall sound defies simple genre tags. Nature is also an important component, both thematically and aurally. With a good pair of headphones, you can hear birds tweeting (“Wingkawnoam”) and insects trilling (“Pinhza Ñi Pewma”).

While the early songs have moments of groove to keep things fun, it’s the middle of ÜL that shines the most. These tracks stand out as more melodic than the rest. “Mamüll Reke” is a slower, ballad-like tune, but it’s also one of the catchier tracks, with a chorus that’ll make you want to learn Mapuzungum so you can sing along. It’s the closest to having a traditional structure of any song on ÜL, which makes its selection as one of the lead singles no surprise. Perhaps my favorite is “Wenu Weychan,” which creates some great energy with a combination of thumping, heavy guitar riffs and powerful blast beats. In particular, Txalkan’s rhythmic drum work makes this so much fun that you want to get up and dance. Yet these songs also display some of Mawiza’s songwriting pitfalls. As much as I love “Wenu Weychan,” it goes on for two minutes too long with some weird instrumental shenanigans. “Nawelkünuwnge,” which opens with an enjoyable Pantera-like riff, eventually devolves into an unusual drop beat breakdown. Decisions like these kill the momentum on otherwise killer tunes.

The final third of ÜL highlights its true weaknesses. “Lhan Antü” and “Kalli Lhayay” feel like half-baked rough drafts instead of well-tuned, coherent tracks. There’s a moment three minutes into “Lhan Antü” where it begins to transform into a different, far more interesting song, but the rest of it sounds like aimless banging on the drum and noise-making with guitars. “Kalli Lhayay” makes use of cybernetic-sounding riffs and vocals that sound like Skynet hacked into Mawiza’s recording session. The conclusion of “Kalli Lhayay” demonstrates how grating those pinch harmonics can be from overuse–at the most extreme, they sound like a simulation of tinnitus. The inability to write memorable hooks and melodies leads to inconsistencies throughout ÜL.

Perhaps it’s my Western concept of music that is getting in the way of enjoying Mawiza’s ÜL as much as I should. I like hooks and melodies, and it’s not as if the album is entirely devoid of these things, but it’s not as hooky or melodic as I’d like. There’s plenty to enjoy, though. The energy on display provides almost enough momentum to carry throughout the entirety of the record. And even if the songwriting is uneven, the musicianship is top-notch. I’m not a guitar player, but I can appreciate the difficulty of playing pinch harmonics, especially to the extent that Mawiza employs them here. I see ÜL as a good start, and with some better songwriting, the next one could be something special.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Seasons of Mist
Website: Bandcamp
Releases Worldwide: July 18th, 2025

#25 #2025 #ChileanMetal #DeathMetal #Gojira #GrooveMetal #Jul25 #Mastodon #Mawiza #MercyfulFate #Metalcore #Pantera #Review #Reviews #SeasonsOfMist #UL

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

Impureza – Alcázares Review

By Angry Metal Guy

Founded in 2004 by guitarist Lionel Cano Muñoz (of Spanish descent, but born in Orléans, France), Impureza is based in France but fully embraces Spanish heritage in both concept and execution. Jokingly called the “French Nile,”1 Impureza blends extreme, brutal death metal with rich cultural motifs and flamenco. Alcázares marks Impureza’s third full-length album in 15 years. The album continues the band’s legacy of high-concept releases, following La Iglesia del Odio (2010, an Inquisition-themed album) and La Caída de Tonatiuh (2017, an Aztec Conquest-themed album).2

Conceptually, Alcázares is based around the Reconquista, a centuries-long conflict between Christian and Muslim forces that started in the 8th century, following Tariq ibn Ziyad’s conquest of the Visigothic Kingdom in 711 and the Battle of Covadonga (in ~722) and ending in 1492 with the establishment of the Catholic Monarchs.3 Alcázares means “fortresses” or “palaces.”4 The word is derived from Arabic, “al-qaṣr” (ٱلْقَصْر),5 which means the same. As with many things on the Iberian Peninsula, like flamenco itself, the tension at the heart of Alcázares is between cultures, faiths, and empires—specifically between Islam and Christianity, the Moor and the Castilian. Symbolically, the title evokes the contested strongholds of medieval Spain: places of siege, destruction, religious power, and shifting dominion between Muslim and Christian empires.

Seven years have changed and improved Impureza. At its core, their sound is best evoked by invoking two excellent bands: Vidres a la Sang and Æternam.6 2017’s La Caída de Tonatiuh was replete with the blasty, brutal ’90s style death metal (à la Vidres a la Sang), a sound near to my heart and that in a lot of ways has receded in the modern death metal landscape. Alcázares doesn’t shy away from this sound. If you needle drop anywhere in the 49 minutes of music on Alcázares, you are likely to land within a minute of blast beats, guttural vocals, and trem-picked, harmonized guitars. The Nileesque brutality sets down the deepest root of their sound, but the tree has also flowered over the years.

Where La Caída de Tonatiuh felt like the tale of two records, Alcázares feels unified. Having backed away from single-minded br00tality, Impureza does a better job of integrating the different flavors of their sound. The real innovation is that they have discovered dynamics. More clean vocals (“La Orden del Yelmo Negro,” “Castigos Eclesiásticos”), better use of integrated acoustic guitars (“Pestilencia,” “Castigos Eclesiásticos”), and the strong melodic content of flamenco—still bearing the history of MENA influences—evokes Æternam’s last two records and even at times Melechesh. For me, this is a perfect blend of brutal and melodic. I love the growls, the anthemic cleans, the fretless bass (“Ruina del Alcázar”), and the tightly integrated feel.

Integration of flamenco and metal is not easy. This is because these two genres of music are fundamentally quite different. Said differently, flamenco is progressive as fuck. It uses a 12-beat cycle,7 where accents fall unpredictably (on beats 12, 3, 6, 8, 10), rather than on typical downbeats.8 Additionally, these cycles blend note-groupings of 2s and 3s (hemiolas), which create shifting accents and internal tensions. I can only imagine that this is genuinely tough to integrate into metal, which operates in 4/4 or 3/4 or, when we’re feeling particularly saucy, 7/8. So, while some moments here threw me at first—seeming messy or chaotic, almost like a band that wasn’t playing in time (for example, on “Santa Inquisición” and “Pestalencia”)—I realized that what I was hearing was the sound of innovation and adventure.

In addition to compositional innovations and refinements, Alcázares benefits from notably improved production. The mix is cleaner, clearer, and better balanced than their previous album, allowing each element—flamenco, cleans, and death metal—to find its place without overpowering the others. It’s probably too loud, but it is never muddy. The guitars shimmer when needed and crush when they must. The bass is visceral and perfectly matched with the drums, and though they sound crushed and a bit mechanical—it is Jacob Hansen, after all—they punch through with precision. Everything feels tighter, more refined, and integrated in a way that I genuinely love.

Impureza has an Orphaned Land-like quality of disappearing and then reappearing to remind you of just what you were missing. Alcázares is Impureza at their most ambitious: historically immersed, sonically expansive, blasphemous, and, well, super into the (alternative) histories of colonialism. Alcázares is a violent, poetic invocation of Spain’s medieval imagination, and it sports an enchanting vibe that recalls some of the best records I own. Seven years of development resulted in a record full of tight riffs, beautiful guitar work, and intense compositions, and they somehow managed to work a Necromancer into a historical concept album (“El Ejército de los Fallecidos de Alarcos”). I would say that I hope to see something from them soon, but I’m happy to wait another seven years for another record of this quality.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Season of Mist
Websites: impureza.bandcamp.com
Release Date: July 11th, 2025

#2025 #35 #Aeternam #Alcázares #DeathMetal #Flamenco #FleshgodApocalypse #Impureza #Jul25 #LaCaìdaDeTonatiuh #Melechesh #Nile #VidresALaSang

To Escape – I Wish to Escape Review

By ClarkKent

As the eruption of the craft beer scene saw a proliferation of beer styles, brewers found a need to stand out from the pack. To do so they created variations on the staples, thus the proliferation in IPAs, from hazy to smoothie to west coast. I see a parallel in metal, where bands attempt to stand out with unique genre tags. Thus, there’s doom jazz or blackened thrash or various other combinations. That brings us Chile’s To Escape, a fusion of raw black metal and traditional Latin dance. Anyone drawn by something novel will immediately take an interest based on a description like that. One has to be cautious, however, because there’s a fine line between a well-executed blend of styles and a superficial gimmick. Does I Wish to Escape prove songwriter David Sepulveda a master brewer of eclectic tunes?

In true raw black metal form, To Escape is a one-man band, with all parts written and performed by Sepulveda. Sepulveda predominantly uses stark tremolos that produce a harsh, fuzzy guitar tone. Those same harsh tones, however, create evocative, memorable, and lively melodies. Remarkably, given the usually low production values of raw black, the bass is also a dominant feature, adding a complex layer of funk and soul. Then there’s the major selling point–the percussion. The promo materials promise “snaps, bells, maracas, shakers, and guiro.” While the loudness of the guitars sometimes hides these various instruments, when you can pick them out, such as the early moments of “Those Who Don’t Know,” they add charm, personality, and a desire to get up and shake your hips. Combined with the highly energetic blast beats, it becomes apparent how I Wish to Escape earns a tag as dance music.

If there’s one thing likely to alienate listeners, it’s Sepulveda’s vocals. He sings with such raw, naked pain that you worry about the state of his larynx. If you’re familiar with Wizard Keep or Vampiric Coffin, those will give you a good idea how Sepulveda sounds, only louder. He can sometimes reach a hysterical pitch, sounding like a pleading Gollum (“Desert in My Eyes, In Your Eyes I See”) or an eerie ghoul (“That Unbreakable Chain”), and on a few moments his emotional outpouring is so draining it leaves him wheezing for breath (“Path of Your Destiny”). In an astonishing moment on “The Infinite Chain,” he swaps the shrieks for some cleans–and he sounds quite good! Considering the lyrical content about death and the wish “to escape,” his pained vocal style makes sense. The rest of the music provides a contrast, almost a celebration, to these dark themes. The fast-paced drumming brings vivacity, and the up-tuned tremolos sound buoyant, opposite those of his fellow countryman, Sergio Catalan (Winds of Tragedy), whose tremolos are much more sorrowful.

To Escape displays impressive musicianship and capable songwriting. Much like the raw black metal of Old Nick, the music is catchy and will keep playing in your head long after it’s over. The icing on the cake comes in the final 20 seconds of the already terrific “I Wish to Escape,” where Sepulveda breaks into a triumphant Latin dance beat. There’s so much to discover on I Wish to Escape, providing plenty to surprise and reward with each repeat listen. I can find little to fault on the record, yet it still falls just shy of greatness. The vocal style can be a touch grating, and the guitars tend to be a tad too loud. The drums sound tinny, and the additional percussions, while novel in concept, fail to truly stand out. I found myself simultaneously mesmerized by the musicianship and repelled by the sometimes over-the-top noisiness of the record.

I Wish to Escape is a must-listen for fans of raw black metal. It’s not just because To Escape has crafted a unique blend of styles, but because Sepulveda has created an exciting and enjoyable record. Similar to the satisfaction of drinking a uniquely flavored stout and actually tasting the promised secret flavor, To Escape allows its various flavors to audibly stand out, mostly. For those who choose to let the raw vocals stand in the way of giving the album a listen, you may have to answer to Cherd. Singing in such a pained way against the backdrop of bright dance beats is an artistic choice that serves to highlight the coexistence between agony and jubilation. This is well worth a listen.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Liminal Dread Productions
Website: Bandcamp
Releases Worldwide: July 11th, 2025

#2025 #35 #BlackMetal #ChileanMetal #IWishToEscape #Jul25 #LatinDance #LiminalDreadProductions #OldNick #RawBlackMetal #Review #Reviews #ToEscape #VampiricCoffin #WindsOfTragedy #WizardKeep