#jun25 — Public Fediverse posts

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Stuck in the Filter: June 2025’s Angry Misses

By Kenstrosity

Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?

We won’t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!

Kenstrosity’s Meanest Meanies

Shadow of Intent // Imperium Delirium [June 12th, 2025 – Self-Release]

For over a decade, Connecticut/Rhode Island melodic deathcore independents Shadow of Intent challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn’t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like “Feeding the Meatgrinder,” “Vehement Draconian Vengeance,” and “No Matter the Cost” still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr’s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on “Apocalypse Canvas,” I don’t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadows of Intent, and I look forward to where it leads me next.

ClarkKent’s Literary Listen

Nightbearer // Defiance [June 13, 2025 – Testimony Records]

Anyone looking for a mashup of Phillip Pullman’s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany’s Nightbearer. Defiance marks album number three in the band’s repertoire, and a continuation of their worship of fantasy epics.1 Right off the bat, the catchy harmonic guitar lead of “His Dark Materials” summons Dark Tranquillity and At the Gates. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout–their creative melodies bring to mind lively outfits like Brymir. Michael Torka’s beastly growls and Manuel Lüke’s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (“One Church Over All”, “Dying Knows No Bounds”). Perhaps the standout track comes from the 9-minute epic, “Ascension.” It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth. Overall, this is an impressive collection of songs that’s sure to scratch that HM-2 itch.

Tyme’s Juxtaposed Jotting

Lipoma // No Cure for the Sick [June 13th, 2025 – Gurgling Gore]

Melodic gore-grind. Yeah, it’s a thing. And California-based Lipoma’s new album, No Cure for the Sick, proves it’s a pretty fucking cool thing at that—the brainchild of one Max Pierce (aka Dr. Lipoma).2 Since going live in 2021, Lipoma has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022’s Horrors of Pathology and 2023’s Odes to Suffering. And while Lipoma has steadily worked to make comparisons with fellow purveyors like Carcass, Lymphatic Phlegm, and Pharmacist less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (“Cult of the Firehealers,” “Glory to the Blade”), post-metallic pop-punk optimism (“Cardiac Scars Forever,” “Psalms of Psoriasis”), indecipherable gurgles, and organ, which is what sets Lipoma’s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener “The Sea Surgeon,” Pierce’s use of organ permeates much of No Cure for the Sick’s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (“Remedies of Pagan Medicine,” “Last Anatomy of Johan Ziegler,” “No Cure for the Sick”). Pierce’s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings—a combo that works in a way it has no right to—sees Lipoma doing something I find wholly unique, a rarity in today’s digital age. I have had a ton of fun with No Cure for the Sick, and if you’ve not checked it out yet, do so post haste.

Iceberg’s Frosty Forget-Me-Nots

Puppe Magnetik // Laudans Deum [June 6th, 2025 – The Circle Music]

Laudans Deum is not for the faint of heart, if that album cover didn’t quite convince you. The debut compilation of Puppe Magnetik, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (“Who Will Sing This Sorrow,” “Labyrinth”) but to great effect, reminiscent of Diablo Swing Orchestra. But the accessibility stops there; Laudans Deum’s thirteen tracks are comprised of ambient meditations (“Moritat”), ear-splitting electronic barrages (“Suspendium, Rosarium et Crucifixu”), and mood music fit for a throwback horror movie (“The Pregnant Nun,” “Patient AV”). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of “Timeless Serenade” and the haunting vocals of “Laments From The Desert.” While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there’s something darkly endearing about it. I’m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik have produced a challenging record, but it’s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.

All Men Unto Me // Requiem [June 27th, 2025 – The Larvarium]

A little more metal, but a lot more challenging, All Men Unto Me’s Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it’s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (“Introit”) at others sobbing (“Kyrie”) straining (“Agnus Dei”) and howling (“Sequentia”). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves’ lyrics and you can’t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of “In Paradisum,” the falsetto whisper speaking “God knows what I’d be without you” against an impossibly high, ever so slightly off-key bell-tone. One’s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.

Killjoy’s Fabulous Find

Fabula Rasa // Tome II: The Beyond [June 13th, 2025 – Self-Release]

The words “fabulous” and “fable” are interconnected, both derived from the Latin word “fabulosus.” And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking and early Mägo de Oz, this spirited crew from Düsseldorf, Germany, infuses what would otherwise be standard—but good!—heavy/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like “Dragon Rising” and “Vengeance Is Mine.” The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada (“At Full Moon,” “Anthem of the North”). Most songs are energetic, but “Burning Innocence” is a pleasant surprise midway through the record, with hand drums and the other band members’ vocal contributions creating an intimate group setting. Don’t miss this charismatic performance from these fabulous musicians.

Maddog’s Sludgy Selection

Dimscûa // Dust Eater [June 3rd, 2025 – Self-Release]

While sludge is a dime a dozen, few bands scratch the same itch as Amenra’s best work. The UK’s Dimscûa aims to correct this oversight. Dust Eater opens with “Elder Bairn,” whose rhythmic riffs evoke the meditative power of LLNN. After this appetizer, the album’s interplay between brawn and heart rivals Amenra. While Dimscûa’s muscular riffs drive the album forward (“Existence/Futility”), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, “Existence/Futility” abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater’s climaxes sometimes fall short, like the fizzle-out ending of “The Dusteater.” But despite its imperfections, Dimscûa’s debut is a powerful outing in a neglected style.3

Dear Hollaback’s Ain’t No B-A-N-A-N-A-S

Various Artists // KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 – Republic Records]4

Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix’s most watched movie of all time, and holy shit, what a soundtrack.. I’d like to use the classic “my daughter made me do it” schtick but she only likes “Takedown.”5 KPop Demon Hunters creates insanely catchy pop music that’s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (“Golden,” “What It Sounds Like”). The focal girl group HUNTR/X does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (“How It’s Done,” “Takedown”). Their on-screen rivals Saja Boys offer entendre-layered sugary pop (the infamous “Soda Pop”) and sinister Gregorian-influenced choruses (“Your Idol”). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (“What It Sounds Like”), diminuendos of authenticity among bombasts of a glossy sheen (“Golden”), touches of dissonance paired with unsettling slant rhymes (“Your Idol”), and rhythmic complexity building to ethereal climaxes of soaring belts (“Free”). While yes, I’m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I’m gonna be, gonna be golden.

#2025 #AllMenUntoMe #Ambient #AmericanMetal #AtTheGates #AvantGarde #Brymir #Carcass #Dalriada #DarkTranquility #Deathcore #Defiance #DiabloSwingOrchestra #Dimscûa #Drone #DustEater #Elvenking #FabulaRasa #FinnishMetal #FolkMetal #GermanMetal #GurglingGore #HeavyMetal #HUNTRX #ImperiumDelirium #IndustrialMetal #Jun25 #KPop #KPopDemonHunters #LaudansDeum #Lipoma #LymphaticPhlegm #MägoDeOz #MelodicDeathMetal #MelodicDeathcore #Nightbearer #NoCureForTheSick #Opeth #Pharmacist #PowerMetal #PuppeMagnetik #RepublicRecords #Requiem #Review #Reviews #SajaBoys #SelfRelease #SelfReleased #ShadowOfIntent #StuckInTheFilter #TestimonyRecords #TheCircleMusic #TheLarvarium #TomeIITheBeyond #UKMetal #VariousArtists

Record(s) o’ the Month – June 2025

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June.…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #AnInsatiableViolence #AngryMetalGuy #blogpost #ChasingtheDragon #Cryptopsy #Empyrean #Entertainment #Fallujah #HelmsDeep #Insania #Jun25 #Record(s)o'theMonth #RecordsoftheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph
https://www.newsbeep.com/us/91621/

Record(s) o’ the Month – June 2025

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June.…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #AnInsatiableViolence #AngryMetalGuy #blogpost #ChasingtheDragon #Cryptopsy #Empyrean #Entertainment #Fallujah #HelmsDeep #Insania #Jun25 #Record(s)o'theMonth #RecordsoftheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph
https://www.newsbeep.com/us/91621/

Record(s) o’ the Month – June 2025

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June.…
#NewsBeep #News #Music #2025 #AnInsatiableViolence #AngryMetalGuy #AU #Australia #BlogPost #ChasingtheDragon #Cryptopsy #Empyrean #Entertainment #Fallujah #HelmsDeep #Insania #Jun25 #Record(s)o'theMonth #RecordsoftheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph
https://www.newsbeep.com/au/76420/

https://www.europesays.com/uk/353072/ Record(s) o’ the Month – June 2025 #2025 #AnInsatiableViolence #AngryMetalGuy #BlogPost #ChasingTheDragon #Cryptopsy #Empyrean #Entertainment #Fallujah #HelmsDeep #Insania #Jun25 #music #Record(s)O'TheMonth #RecordsOfTheMonth #TheFleshPrevails #TheGreatApocalypse #UK #UnitedKingdom #Xenotaph

Record(s) o’ the Month – June 2025

By Angry Metal Guy

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June. A weird month, June was differentiated by the sheer number of recommendations that I received from the staff. Some months will see the Groupthink kick in, and everyone will vote for the same three albums. But June had no clear standout. Instead, it had a raft of yeah, I like that! That said, the longer I’ve spent with the records that were released in June, the more I have enjoyed almost all of the recommendations. Some of them unexpectedly. That there were so many recommendations has meant that I have had to take my time. But at last, the time has come…

You guys remember that time when we had a big kerfuffle with the guy who produced The Flesh Prevails? That’s the last time that I can clock that a Fallujah record really hit home for me. As much as I adored their debut, Fallujah’s post-gettin’-big material has largely left me cold. I’m not even sure I remember listening to 2022’s Empyrean until prepping for this. Xenotaph—out June 13th, 2025, from Nuclear Blast Records [Bandcamp]—is different. With a vibe that screams Traced in Air, but with a willingness to push into the realms of death metal that made Fallujah a household name,1 Xenotaph hits genuinely different. Sounding something more akin to reunion-era Cynic works for them because it’s technically appealing, it’s melodically sexy, and it doesn’t undermine their strengths. It enhances them. While The Harvest Wounds did have a vaguely atmospheric backing, the guitars and drums had bite, and the whole album didn’t have the dreamlike quality that came to define their follow-ups. While the increasingly atmospheric vibe undermined the band’s sound for me, Xenotaph—which features more guitar attack than any record of theirs since their debut, probably—benefits from the dreamy qualities, giving it a surreal, progressive feel that flows with the album art, the dynamic vocal performances, and interesting composition. Yet, the reintroduction of attack on the guitars and the more consistent compositional dynamics make Xenotaph feel heavier and more immediate than anything I’ve heard from these Bay Area death metallers in a long time. The deeper I dig into Xenotaph, the stronger it feels. Dolphin Whisperer noted—in a newborn baby-induced fugue state—that the album benefits from borderline-conceptual interlinkages between songs and “endless and lush guitar layers that scaffold the composition on Xenotaph and make it a rewarding, repeatable listen.” That’s unusually understated for a Record o’ the Month review. So let me hyperbolize: Fallujah has achieved a conceptual evolution on Xenotaph that feels true to their origins and yet develops their sound in ways that make it accessible, and yet, truly unique. Said differently, Fallujah’s sellout has been well executed, and I’m here for it.2

Runner(s) Up:

Insania // The Great Apocalypse [June 13th, 2025 | Frontiers Music | Stream on Tidal] — I was surprised when I started listening to Insania’s The Great Apocalypse and found myself increasingly invested in it. At first, it was the kind of record that felt familiar—a solid Good! on the rating scale, something that scratched an itch and amused me—but with time, I came to see so much more. Too much of the response to this album has been to write it off as either derivative or rote power metal, but a deep dive tells a different story. The Great Apocalypse finds a band that’s developing its sound, using decades of experience, and branching out slowly but surely. This becomes increasingly true as the album continues. A bit like T/L’s Rhapsody, this record starts in the familiar and becomes increasingly adventurous and interesting as it goes on—with particularly elevated guitarwork throughout. But I don’t need to justify my love for The Great Apocalypse by saying it’s more than it is perceived to be. Because it is also a very good Europower record from a band that cut its teeth decades ago and has reawakened full of piss, vinegar, and addictive hockey rock choruses that you won’t forget for days. To quote an earlier, extremely excited version of AMG Myself, “by playing to form and yet resisting predictability, The Great Apocalypse finds Insania sounding like a band that knows the rules so well that they don’t have to break them; they subvert them. While earlier albums felt a bit paint-by-numbers, added nuance and increasing sophistication have propelled Insania into a different tier: one that’s ambitious, confident, and, at times, even profound.”3

Cryptopsy // An Insatiable Violence [June 20th, 2025 | Season of Mist | Bandcamp] — Remember when a Cryptopsy release was the biggest deal in the metal scene since the last Cryptopsy release? It’s been a while. And yet An Insatiable Violence is a reminder that Cryptopsy is still very sorry for whatever it was they tried to do, and actually, they’re still really fucking good. Maybe they’ve gotten better. At first pass, An Insatiable Violence feels like a continuation of 13 years of Cryptopsy paying penance for an album no one liked while proving they can still rip with the best of them. But the longer you sit with An Insatiable Violence, the more it comes into focus as something greater: 38 minutes that deliberately weave together every era of Cryptopsy, from the bone-grinding grooves and whirwind savagery of their early days to flashes of melody and subtle nods to avant-garde detours. As some fucking guy who I’ve never heard of before (Alekhines Gun?4) wrote with an obvious excess of pathos that makes me wonder whether he’s a fit for what we do around here: “For the last decade plus, Cryptopsy have enhanced their skillset, honed their compositions, and fine-tuned their performances into the giants they used to be. An Insatiable Violence is engaging, bloodthirsty, frantic, and most importantly, an excellent release from a granddaddy band who are here to remind any that there truly is none so vile.”

Helms Deep // Chasing the Dragon [June 20th, 2025 | Nameless Grave Records | Bandcamp] — American power metal was on a lot of lips in June. Alas, everyone was talking about one band with great music, but who struggled to stick the landing. On the other hand, not enough people were talking about the album that literally has a dragon with a fucking jetpack on the cover, as well as a vocalist who can both cheese and hit notes when doing his US Power Metal Obligatory Falsetto Wail™. Whether evoking Mötely Crüe (“Cursed”) or Rata Blanca (“Craze of the Vampire”), Helms Deep does it all with the kind of charm and pizzazz that is undeniable. Chasing the Dragon exudes a certain charisma, what the kids would call “rizz,” but also has a righteously old school production job—in style, if not in DR Score—that makes me feel like I’m listening to a dubbed tape that my brother’s buddy’s older brother recorded for us. But all of this is window dressing on a record that is chock full of genuinely good guitar work, fun writing, and the kind of Drinking a PBR and Headbanging with My People energy that metal has increasingly lost as listeners and practitioners have become invested in Being Taken Very Seriously as Artists.5 As a-guy-who-definitely-is-not-Superman wrote, unchecked by journalistic ethics or a desire to be circumspect and humble in his opining: “Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, which has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.” Point taken, it’s long, but Chasing the Dragon is already a monster. A winged, armored, fire-breathing monster wearing a fucking jet pack!

#2025 #AnInsatiableViolence #AngryMetalGuy #BlogPost #ChasingTheDragon #Cryptopsy #Empyrean #Fallujah #HelmsDeep #Insania #Jun25 #RecordSOTheMonth #RecordsOfTheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph

Record(s) o’ the Month – June 2025

By Angry Metal Guy

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June. A weird month, June was differentiated by the sheer number of recommendations that I received from the staff. Some months will see the Groupthink kick in, and everyone will vote for the same three albums. But June had no clear standout. Instead, it had a raft of yeah, I like that! That said, the longer I’ve spent with the records that were released in June, the more I have enjoyed almost all of the recommendations. Some of them unexpectedly. That there were so many recommendations has meant that I have had to take my time. But at last, the time has come…

You guys remember that time when we had a big kerfuffle with the guy who produced The Flesh Prevails? That’s the last time that I can clock that a Fallujah record really hit home for me. As much as I adored their debut, Fallujah’s post-gettin’-big material has largely left me cold. I’m not even sure I remember listening to 2022’s Empyrean until prepping for this. Xenotaph—out June 13th, 2025, from Nuclear Blast Records [Bandcamp]—is different. With a vibe that screams Traced in Air, but with a willingness to push into the realms of death metal that made Fallujah a household name,1 Xenotaph hits genuinely different. Sounding something more akin to reunion-era Cynic works for them because it’s technically appealing, it’s melodically sexy, and it doesn’t undermine their strengths. It enhances them. While The Harvest Wounds did have a vaguely atmospheric backing, the guitars and drums had bite, and the whole album didn’t have the dreamlike quality that came to define their follow-ups. While the increasingly atmospheric vibe undermined the band’s sound for me, Xenotaph—which features more guitar attack than any record of theirs since their debut, probably—benefits from the dreamy qualities, giving it a surreal, progressive feel that flows with the album art, the dynamic vocal performances, and interesting composition. Yet, the reintroduction of attack on the guitars and the more consistent compositional dynamics make Xenotaph feel heavier and more immediate than anything I’ve heard from these Bay Area death metallers in a long time. The deeper I dig into Xenotaph, the stronger it feels. Dolphin Whisperer noted—in a newborn baby-induced fugue state—that the album benefits from borderline-conceptual interlinkages between songs and “endless and lush guitar layers that scaffold the composition on Xenotaph and make it a rewarding, repeatable listen.” That’s unusually understated for a Record o’ the Month review. So let me hyperbolize: Fallujah has achieved a conceptual evolution on Xenotaph that feels true to their origins and yet develops their sound in ways that make it accessible, and yet, truly unique. Said differently, Fallujah’s sellout has been well executed, and I’m here for it.2

Runner(s) Up:

Insania // The Great Apocalypse [June 13th, 2025 | Frontiers Music | Stream on Tidal] — I was surprised when I started listening to Insania’s The Great Apocalypse and found myself increasingly invested in it. At first, it was the kind of record that felt familiar—a solid Good! on the rating scale, something that scratched an itch and amused me—but with time, I came to see so much more. Too much of the response to this album has been to write it off as either derivative or rote power metal, but a deep dive tells a different story. The Great Apocalypse finds a band that’s developing its sound, using decades of experience, and branching out slowly but surely. This becomes increasingly true as the album continues. A bit like T/L’s Rhapsody, this record starts in the familiar and becomes increasingly adventurous and interesting as it goes on—with particularly elevated guitarwork throughout. But I don’t need to justify my love for The Great Apocalypse by saying it’s more than it is perceived to be. Because it is also a very good Europower record from a band that cut its teeth decades ago and has reawakened full of piss, vinegar, and addictive hockey rock choruses that you won’t forget for days. To quote an earlier, extremely excited version of AMG Myself, “by playing to form and yet resisting predictability, The Great Apocalypse finds Insania sounding like a band that knows the rules so well that they don’t have to break them; they subvert them. While earlier albums felt a bit paint-by-numbers, added nuance and increasing sophistication have propelled Insania into a different tier: one that’s ambitious, confident, and, at times, even profound.”3

Cryptopsy // An Insatiable Violence [June 20th, 2025 | Season of Mist | Bandcamp] — Remember when a Cryptopsy release was the biggest deal in the metal scene since the last Cryptopsy release? It’s been a while. And yet An Insatiable Violence is a reminder that Cryptopsy is still very sorry for whatever it was they tried to do, and actually, they’re still really fucking good. Maybe they’ve gotten better. At first pass, An Insatiable Violence feels like a continuation of 13 years of Cryptopsy paying penance for an album no one liked while proving they can still rip with the best of them. But the longer you sit with An Insatiable Violence, the more it comes into focus as something greater: 38 minutes that deliberately weave together every era of Cryptopsy, from the bone-grinding grooves and whirwind savagery of their early days to flashes of melody and subtle nods to avant-garde detours. As some fucking guy who I’ve never heard of before (Alekhines Gun?4) wrote with an obvious excess of pathos that makes me wonder whether he’s a fit for what we do around here: “For the last decade plus, Cryptopsy have enhanced their skillset, honed their compositions, and fine-tuned their performances into the giants they used to be. An Insatiable Violence is engaging, bloodthirsty, frantic, and most importantly, an excellent release from a granddaddy band who are here to remind any that there truly is none so vile.”

Helms Deep // Chasing the Dragon [June 20th, 2025 | Nameless Grave Records | Bandcamp] — American power metal was on a lot of lips in June. Alas, everyone was talking about one band with great music, but who struggled to stick the landing. On the other hand, not enough people were talking about the album that literally has a dragon with a fucking jetpack on the cover, as well as a vocalist who can both cheese and hit notes when doing his US Power Metal Obligatory Falsetto Wail™. Whether evoking Mötely Crüe (“Cursed”) or Rata Blanca (“Craze of the Vampire”), Helms Deep does it all with the kind of charm and pizzazz that is undeniable. Chasing the Dragon exudes a certain charisma, what the kids would call “rizz,” but also has a righteously old school production job—in style, if not in DR Score—that makes me feel like I’m listening to a dubbed tape that my brother’s buddy’s older brother recorded for us. But all of this is window dressing on a record that is chock full of genuinely good guitar work, fun writing, and the kind of Drinking a PBR and Headbanging with My People energy that metal has increasingly lost as listeners and practitioners have become invested in Being Taken Very Seriously as Artists.5 As a-guy-who-definitely-is-not-Superman wrote, unchecked by journalistic ethics or a desire to be circumspect and humble in his opining: “Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, which has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.” Point taken, it’s long, but Chasing the Dragon is already a monster. A winged, armored, fire-breathing monster wearing a fucking jet pack!

#2025 #AnInsatiableViolence #AngryMetalGuy #BlogPost #ChasingTheDragon #Cryptopsy #Empyrean #Fallujah #HelmsDeep #Insania #Jun25 #RecordSOTheMonth #RecordsOfTheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph

Record(s) o’ the Month – June 2025

By Angry Metal Guy

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June. A weird month, June was differentiated by the sheer number of recommendations that I received from the staff. Some months will see the Groupthink kick in, and everyone will vote for the same three albums. But June had no clear standout. Instead, it had a raft of yeah, I like that! That said, the longer I’ve spent with the records that were released in June, the more I have enjoyed almost all of the recommendations. Some of them unexpectedly. That there were so many recommendations has meant that I have had to take my time. But at last, the time has come…

You guys remember that time when we had a big kerfuffle with the guy who produced The Flesh Prevails? That’s the last time that I can clock that a Fallujah record really hit home for me. As much as I adored their debut, Fallujah’s post-gettin’-big material has largely left me cold. I’m not even sure I remember listening to 2022’s Empyrean until prepping for this. Xenotaph—out June 13th, 2025, from Nuclear Blast Records [Bandcamp]—is different. With a vibe that screams Traced in Air, but with a willingness to push into the realms of death metal that made Fallujah a household name,1 Xenotaph hits genuinely different. Sounding something more akin to reunion-era Cynic works for them because it’s technically appealing, it’s melodically sexy, and it doesn’t undermine their strengths. It enhances them. While The Harvest Wounds did have a vaguely atmospheric backing, the guitars and drums had bite, and the whole album didn’t have the dreamlike quality that came to define their follow-ups. While the increasingly atmospheric vibe undermined the band’s sound for me, Xenotaph—which features more guitar attack than any record of theirs since their debut, probably—benefits from the dreamy qualities, giving it a surreal, progressive feel that flows with the album art, the dynamic vocal performances, and interesting composition. Yet, the reintroduction of attack on the guitars and the more consistent compositional dynamics make Xenotaph feel heavier and more immediate than anything I’ve heard from these Bay Area death metallers in a long time. The deeper I dig into Xenotaph, the stronger it feels. Dolphin Whisperer noted—in a newborn baby-induced fugue state—that the album benefits from borderline-conceptual interlinkages between songs and “endless and lush guitar layers that scaffold the composition on Xenotaph and make it a rewarding, repeatable listen.” That’s unusually understated for a Record o’ the Month review. So let me hyperbolize: Fallujah has achieved a conceptual evolution on Xenotaph that feels true to their origins and yet develops their sound in ways that make it accessible, and yet, truly unique. Said differently, Fallujah’s sellout has been well executed, and I’m here for it.2

Runner(s) Up:

Insania // The Great Apocalypse [June 13th, 2025 | Frontiers Music | Stream on Tidal] — I was surprised when I started listening to Insania’s The Great Apocalypse and found myself increasingly invested in it. At first, it was the kind of record that felt familiar—a solid Good! on the rating scale, something that scratched an itch and amused me—but with time, I came to see so much more. Too much of the response to this album has been to write it off as either derivative or rote power metal, but a deep dive tells a different story. The Great Apocalypse finds a band that’s developing its sound, using decades of experience, and branching out slowly but surely. This becomes increasingly true as the album continues. A bit like T/L’s Rhapsody, this record starts in the familiar and becomes increasingly adventurous and interesting as it goes on—with particularly elevated guitarwork throughout. But I don’t need to justify my love for The Great Apocalypse by saying it’s more than it is perceived to be. Because it is also a very good Europower record from a band that cut its teeth decades ago and has reawakened full of piss, vinegar, and addictive hockey rock choruses that you won’t forget for days. To quote an earlier, extremely excited version of AMG Myself, “by playing to form and yet resisting predictability, The Great Apocalypse finds Insania sounding like a band that knows the rules so well that they don’t have to break them; they subvert them. While earlier albums felt a bit paint-by-numbers, added nuance and increasing sophistication have propelled Insania into a different tier: one that’s ambitious, confident, and, at times, even profound.”3

Cryptopsy // An Insatiable Violence [June 20th, 2025 | Season of Mist | Bandcamp] — Remember when a Cryptopsy release was the biggest deal in the metal scene since the last Cryptopsy release? It’s been a while. And yet An Insatiable Violence is a reminder that Cryptopsy is still very sorry for whatever it was they tried to do, and actually, they’re still really fucking good. Maybe they’ve gotten better. At first pass, An Insatiable Violence feels like a continuation of 13 years of Cryptopsy paying penance for an album no one liked while proving they can still rip with the best of them. But the longer you sit with An Insatiable Violence, the more it comes into focus as something greater: 38 minutes that deliberately weave together every era of Cryptopsy, from the bone-grinding grooves and whirwind savagery of their early days to flashes of melody and subtle nods to avant-garde detours. As some fucking guy who I’ve never heard of before (Alekhines Gun?4) wrote with an obvious excess of pathos that makes me wonder whether he’s a fit for what we do around here: “For the last decade plus, Cryptopsy have enhanced their skillset, honed their compositions, and fine-tuned their performances into the giants they used to be. An Insatiable Violence is engaging, bloodthirsty, frantic, and most importantly, an excellent release from a granddaddy band who are here to remind any that there truly is none so vile.”

Helms Deep // Chasing the Dragon [June 20th, 2025 | Nameless Grave Records | Bandcamp] — American power metal was on a lot of lips in June. Alas, everyone was talking about one band with great music, but who struggled to stick the landing. On the other hand, not enough people were talking about the album that literally has a dragon with a fucking jetpack on the cover, as well as a vocalist who can both cheese and hit notes when doing his US Power Metal Obligatory Falsetto Wail™. Whether evoking Mötely Crüe (“Cursed”) or Rata Blanca (“Craze of the Vampire”), Helms Deep does it all with the kind of charm and pizzazz that is undeniable. Chasing the Dragon exudes a certain charisma, what the kids would call “rizz,” but also has a righteously old school production job—in style, if not in DR Score—that makes me feel like I’m listening to a dubbed tape that my brother’s buddy’s older brother recorded for us. But all of this is window dressing on a record that is chock full of genuinely good guitar work, fun writing, and the kind of Drinking a PBR and Headbanging with My People energy that metal has increasingly lost as listeners and practitioners have become invested in Being Taken Very Seriously as Artists.5 As a-guy-who-definitely-is-not-Superman wrote, unchecked by journalistic ethics or a desire to be circumspect and humble in his opining: “Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, which has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.” Point taken, it’s long, but Chasing the Dragon is already a monster. A winged, armored, fire-breathing monster wearing a fucking jet pack!

#2025 #AnInsatiableViolence #AngryMetalGuy #BlogPost #ChasingTheDragon #Cryptopsy #Empyrean #Fallujah #HelmsDeep #Insania #Jun25 #RecordSOTheMonth #RecordsOfTheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph

Record(s) o’ the Month – June 2025

By Angry Metal Guy

As we inch inexorably closer to relevance and timeliness, we must first cross the fallow fields of June. A weird month, June was differentiated by the sheer number of recommendations that I received from the staff. Some months will see the Groupthink kick in, and everyone will vote for the same three albums. But June had no clear standout. Instead, it had a raft of yeah, I like that! That said, the longer I’ve spent with the records that were released in June, the more I have enjoyed almost all of the recommendations. Some of them unexpectedly. That there were so many recommendations has meant that I have had to take my time. But at last, the time has come…

You guys remember that time when we had a big kerfuffle with the guy who produced The Flesh Prevails? That’s the last time that I can clock that a Fallujah record really hit home for me. As much as I adored their debut, Fallujah’s post-gettin’-big material has largely left me cold. I’m not even sure I remember listening to 2022’s Empyrean until prepping for this. Xenotaph—out June 13th, 2025, from Nuclear Blast Records [Bandcamp]—is different. With a vibe that screams Traced in Air, but with a willingness to push into the realms of death metal that made Fallujah a household name,1 Xenotaph hits genuinely different. Sounding something more akin to reunion-era Cynic works for them because it’s technically appealing, it’s melodically sexy, and it doesn’t undermine their strengths. It enhances them. While The Harvest Wounds did have a vaguely atmospheric backing, the guitars and drums had bite, and the whole album didn’t have the dreamlike quality that came to define their follow-ups. While the increasingly atmospheric vibe undermined the band’s sound for me, Xenotaph—which features more guitar attack than any record of theirs since their debut, probably—benefits from the dreamy qualities, giving it a surreal, progressive feel that flows with the album art, the dynamic vocal performances, and interesting composition. Yet, the reintroduction of attack on the guitars and the more consistent compositional dynamics make Xenotaph feel heavier and more immediate than anything I’ve heard from these Bay Area death metallers in a long time. The deeper I dig into Xenotaph, the stronger it feels. Dolphin Whisperer noted—in a newborn baby-induced fugue state—that the album benefits from borderline-conceptual interlinkages between songs and “endless and lush guitar layers that scaffold the composition on Xenotaph and make it a rewarding, repeatable listen.” That’s unusually understated for a Record o’ the Month review. So let me hyperbolize: Fallujah has achieved a conceptual evolution on Xenotaph that feels true to their origins and yet develops their sound in ways that make it accessible, and yet, truly unique. Said differently, Fallujah’s sellout has been well executed, and I’m here for it.2

Runner(s) Up:

Insania // The Great Apocalypse [June 13th, 2025 | Frontiers Music | Stream on Tidal] — I was surprised when I started listening to Insania’s The Great Apocalypse and found myself increasingly invested in it. At first, it was the kind of record that felt familiar—a solid Good! on the rating scale, something that scratched an itch and amused me—but with time, I came to see so much more. Too much of the response to this album has been to write it off as either derivative or rote power metal, but a deep dive tells a different story. The Great Apocalypse finds a band that’s developing its sound, using decades of experience, and branching out slowly but surely. This becomes increasingly true as the album continues. A bit like T/L’s Rhapsody, this record starts in the familiar and becomes increasingly adventurous and interesting as it goes on—with particularly elevated guitarwork throughout. But I don’t need to justify my love for The Great Apocalypse by saying it’s more than it is perceived to be. Because it is also a very good Europower record from a band that cut its teeth decades ago and has reawakened full of piss, vinegar, and addictive hockey rock choruses that you won’t forget for days. To quote an earlier, extremely excited version of AMG Myself, “by playing to form and yet resisting predictability, The Great Apocalypse finds Insania sounding like a band that knows the rules so well that they don’t have to break them; they subvert them. While earlier albums felt a bit paint-by-numbers, added nuance and increasing sophistication have propelled Insania into a different tier: one that’s ambitious, confident, and, at times, even profound.”3

Cryptopsy // An Insatiable Violence [June 20th, 2025 | Season of Mist | Bandcamp] — Remember when a Cryptopsy release was the biggest deal in the metal scene since the last Cryptopsy release? It’s been a while. And yet An Insatiable Violence is a reminder that Cryptopsy is still very sorry for whatever it was they tried to do, and actually, they’re still really fucking good. Maybe they’ve gotten better. At first pass, An Insatiable Violence feels like a continuation of 13 years of Cryptopsy paying penance for an album no one liked while proving they can still rip with the best of them. But the longer you sit with An Insatiable Violence, the more it comes into focus as something greater: 38 minutes that deliberately weave together every era of Cryptopsy, from the bone-grinding grooves and whirwind savagery of their early days to flashes of melody and subtle nods to avant-garde detours. As some fucking guy who I’ve never heard of before (Alekhines Gun?4) wrote with an obvious excess of pathos that makes me wonder whether he’s a fit for what we do around here: “For the last decade plus, Cryptopsy have enhanced their skillset, honed their compositions, and fine-tuned their performances into the giants they used to be. An Insatiable Violence is engaging, bloodthirsty, frantic, and most importantly, an excellent release from a granddaddy band who are here to remind any that there truly is none so vile.”

Helms Deep // Chasing the Dragon [June 20th, 2025 | Nameless Grave Records | Bandcamp] — American power metal was on a lot of lips in June. Alas, everyone was talking about one band with great music, but who struggled to stick the landing. On the other hand, not enough people were talking about the album that literally has a dragon with a fucking jetpack on the cover, as well as a vocalist who can both cheese and hit notes when doing his US Power Metal Obligatory Falsetto Wail™. Whether evoking Mötely Crüe (“Cursed”) or Rata Blanca (“Craze of the Vampire”), Helms Deep does it all with the kind of charm and pizzazz that is undeniable. Chasing the Dragon exudes a certain charisma, what the kids would call “rizz,” but also has a righteously old school production job—in style, if not in DR Score—that makes me feel like I’m listening to a dubbed tape that my brother’s buddy’s older brother recorded for us. But all of this is window dressing on a record that is chock full of genuinely good guitar work, fun writing, and the kind of Drinking a PBR and Headbanging with My People energy that metal has increasingly lost as listeners and practitioners have become invested in Being Taken Very Seriously as Artists.5 As a-guy-who-definitely-is-not-Superman wrote, unchecked by journalistic ethics or a desire to be circumspect and humble in his opining: “Within the belly of this dragon is a great album. I immensely enjoyed my time with Chasing the Dragon, which has a modern sound that is clearly dedicated to its influences without ripping them off. Sciortino has created a magical project. If Helms Deep can combine their balls-to-the-wall energy with some discipline, their next album could be a monster.” Point taken, it’s long, but Chasing the Dragon is already a monster. A winged, armored, fire-breathing monster wearing a fucking jet pack!

#2025 #AnInsatiableViolence #AngryMetalGuy #BlogPost #ChasingTheDragon #Cryptopsy #Empyrean #Fallujah #HelmsDeep #Insania #Jun25 #RecordSOTheMonth #RecordsOfTheMonth #TheFleshPrevails #TheGreatApocalypse #Xenotaph

https://www.europesays.com/uk/313748/ Heathen’s Eye – Port Inspiro Review #2025 #3.0 #Accept #AOR #Candlemass #Entertainment #FatesWarning #Heathen'sEye #Jorn #journey #Jun25 #magnum #MelodicMetal #MetalHeart #music #PortInspiro #Queensryche #Review #Reviews #SwedishMetal #UK #UnitedKingdom

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Heathen’s Eye – Port Inspiro Review

By Angry Metal Guy

Written by: Nameless_n00b_607

The past is a vast well of knowledge and inspiration, but dwelling in it too much has its perils. Not enough of your spin on things can make your album sound generic and stale, while too much can alienate your target audience. Genres with accessible melodic songwriting are a precarious balancing act in this regard, and standing out becomes even more of a trial by fire. Swedish band Heathen’s Eye is boldly trying to make their mark in these well-traveled lands with their debut Port Inspiro, the Esperanto title meaning ‘inspired by the past.’ Can this freshly formed team of experienced musicians sail through time without getting lost along the way?

The heart of Heathen’s Eye beats comfortably within the late-’80s/early-‘90s borderlands between melodic rock and metal. On the metal side of things, the songwriting channels the anthemic nature of Accept’s Metal Heart. Electrifying guitars by axe wielder Göran Hamrin, accompanied by the soaring baritone vocals of Robb Lindh, are Port Inspiro’s driving force, bringing a welcome Jornian attitude to the record. While Lindh is not Lord Jørn—and occasionally trades away his strengths for versatility—his voice fits the genre like a glove, being often reminiscent of a more rock-oriented Johan Längqvist (Candlemass). In between the heavier bits are traces of Magnum and Journey piercing through, with Mikael Andersson’s wide synth arsenal drifting from bright and nostalgic to dark and mystical between songs. Despite leaning towards the softer end of the metalverse, Heathen’s Eye shows they can still riff, with some unexpectedly hefty guitar and drum work (“Mirrorman,” “Blind”) adding appropriate counterweight to the album.

Confident veteran musicianship makes Port Inspiro turn out to be more varied and ambitious than it seems at first glance. “Ghosts of Yesterday” and “Monsters” both recall the subtly progressive melodic side of acts such as ‘90s Fates Warning or earlier Queensrÿche. This side of the record makes it a good companion piece to something like the recent A-Z album, albeit leaning less towards prog and more towards AOR. When Heathen’s Eye ups the speed and energy, a hint of power metal influence is noticeable too. The record reaches a particular apex when all these separate elements get to coalesce and transcend (“Firepriest”). While I wish the album had more bursts of glory in this vein and spent less time in its mid-paced comfort zone, the material’s catchiness mostly makes up for the lack of speed. The band’s influences coming from more than one place significantly increase the album’s replay value, and a smooth blend crafted by experienced hands keeps the ship well afloat.

Port Inspiro is an enjoyable experience overall, but it suffers from some pacing issues. At 63 minutes, the album quite convincingly sprints past LP length. Its plentiful hooks and variety offer a convincing illusion of brevity, but most songs here fall in the 5–6-minute range, and some do overstay their welcome (“Monsters,” “Time to Deliver”). The pacing also becomes apparent in the album’s clunky middle, where several songs in a row feature lengthy intros, suggesting a mild case of Steve Harris-itis. Another place where the pacing is problematic is that Heathen’s Eye places two ballads almost next to each other. Cutting the somber, stylistic pariah “Lost in the Wind” would result in a more cohesive album. Ultimately, none of these are huge issues, and the album is still a pleasant journey with all 12 tracks ranging from solid to very good. The warm and vibrant production job at a surprising DR10 helps to make Port Inspiro cozy listening from start to finish.1

If Heathen’s Eye can further zero in on their songwriting, their good formula here could very well turn into a resounding triumph. Port Inspiro celebrates the past while also combining the band’s influences in interesting ways. It might not be innovative—it doesn’t intend to be—but it does succeed in its main goal: it’s fun. And while some extra trimming and urgency would have further improved the record’s pacing, it still manages to feel shorter than it is. Even with occasional missteps, Port Inspiro is a comfortable listen that has plenty of tunes combining anthemic and creative, inspired by but not stuck in the past. I’ll be curious to see if they can take what they’ve learned and follow up with an even stronger package; momentum is on their side.

Rating: Good!
DR: 10 | Format Reviewed: V3 MP32
Label: Pride & Joy Music
Websites Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #Accept #AOR #Candlemass #FatesWarning #HeathenSEye #Jorn #Journey #Jun25 #Magnum #MelodicMetal #MetalHeart #PortInspiro #Queensryche #Review #Reviews #SwedishMetal

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Grace Hayhurst – The World Is Dying Review

By Angry Metal Guy

Written By: Nameless_n00b_601

Making good progressive metal is incredibly difficult. Where styles like black metal can still succeed without considered songwriting or astonishing musicianship, prog is a fickle mistress, demanding expert songcraft that balances dynamic peaks and valleys, as well as considerable instrumental prowess. Even prog’s biggest bands still routinely falter when armed with a fearsome squad of world-class musicians and major label backing.1 Still, this fails to deter new artists without such resources from aiming for the sheer highs the style can offer. Enter English multi-instrumentalist Grace Hayhurst and her debut record, The World Is Dying. Except for drums, Hayhurst accomplishes the impressive task of composing and performing an expansive prog album entirely by herself. Informed by both ’70s prog rock and modern prog metal, alongside orchestral music and sci-fi media, The World Is Dying aims to be music that Hayhurst “wants to listen to.” Can this one-woman independent release fulfill her ambitions and succeed in producing a quality prog album where her contemporaries have failed?

Grace Hayhurst demonstrates a clear familiarity with prog, which she uses to craft engaging and varied songs. Her brand of prog metal is very much in line with the approach to the subgenre crystallized by Dream Theater and modernized by Haken, complete with a dash of extra British flavor á la Steven Wilson and Gentle Giant. Vocal-led compositions feature keyboards front and center, alongside odd time signatures and syncopated guitar riffs across dynamic shifts between softer, atmospheric moments and heavier passages with distorted power chords. Hayhurst follows the “prog playbook” while managing to avoid the common pitfalls of unfocused songwriting and extended solo sections, which plague many of her contemporaries. Instead of mashing together unrelated parts around a vague pop song structure, she builds on a distinct rhythmic or melodic motif and follows it throughout a song. Hayhurst weaves in and out of verses, choruses, and solos while dialing the intensity up or down depending on the part. The World Is Dying’s strongest songs use such motifs as central throughlines, complicating and enhancing compositions through texture and instrument substitutions (“Us vs Them,” “Revolution”).

Stunning compositions are only part of a successful prog equation, though, and unfortunately, Grace Hayhurst is an unengaging vocalist. The vocal parts themselves are all competently written, but vocally, she lacks the power or personality necessary to lead songs consisting of big hooks and dramatic peaks. Her vocal delivery is breathy and devoid of emotion. This makes the more chorus-focused songs (“The World Is Dying,” “It’s Our Fault”) significantly weaker, as each song’s repeated centerpiece falls flat. This isn’t helped by uninspiring lyrics throughout, which are presented with crystal clear audibility due to the production style. The record is entirely about humankind’s destruction of the Earth and the lack of consequences for those in power who have caused this. Yet, there’s no use of metaphor or abstraction in dealing with this potentially rich topic, just relatively plain language doled out in obvious rhyme schemes. After repeated listens, I find myself constantly pulled away from the tension created by lush instrumentation when what should be a memorable vocal moment fails to land.

When the vocals aren’t centered, The World Is Dying is loaded with engaging compositions, replete with musical layers and countermelodies that elevate an already-strong instrumental core. The individual sections themselves can sometimes veer into predictable, generic prog territory, but there is no shortage of textural flavor or variety, which adds nuance and replayability to several tunes. Nature sound effects are used to strengthen the concept while deepening the sonic space (“Our Forest, the Earth”), slap bass is employed for some funktastic groove changeups (“Us Vs. Them”) and guitar/synth melodies are embellished with tasty, doubled harmonies or added strings and orchestral flare (“Take Off”). On the vocal end, there are efforts made with layered harmonies and vocoders to make things a bit more interesting by pulling the focus away from a single vocal performance. Even harsh vocals are deployed at a few key moments, such as the end of the 13-minute “Revolution,” to great effect. Although on the track list, this is followed by an interlude and then the album closer, “Absent Futures,” a vocal-led acoustic ballad that falls flat due to its form.

The World Is Dying displays plenty of promise, but its potential is hampered by one unfortunately lackluster element. As a lover of prog, Grace Hayhurst’s debut is almost filled with enough whimsy and clever songwriting to excite me, but is ultimately held back by its weak vocals. I could see Hayhurst functioning well as the primary composer for a prog metal band with a dedicated singer. She still has some growth before carrying a full band on her own. For now, this album finds itself in the same predicament as its cover art: a competent package whose thematic cohesion is displaced by one disappointing component.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Independent
Websites: gracehr.st| gracehrst.bandcamp.com
Releases Worldwide: June 27th, 2025

#25 #2025 #DreamTheater #GentleGiant #GraceHayhurst #Haken #Jun25 #ProgressiveMetal #Review #Reviews #SelfReleases #StevenWilson #TheWorldIsDying

Grace Hayhurst – The World Is Dying Review

By Angry Metal Guy

Written By: Nameless_n00b_601

Making good progressive metal is incredibly difficult. Where styles like black metal can still succeed without considered songwriting or astonishing musicianship, prog is a fickle mistress, demanding expert songcraft that balances dynamic peaks and valleys, as well as considerable instrumental prowess. Even prog’s biggest bands still routinely falter when armed with a fearsome squad of world-class musicians and major label backing.1 Still, this fails to deter new artists without such resources from aiming for the sheer highs the style can offer. Enter English multi-instrumentalist Grace Hayhurst and her debut record, The World Is Dying. Except for drums, Hayhurst accomplishes the impressive task of composing and performing an expansive prog album entirely by herself. Informed by both ’70s prog rock and modern prog metal, alongside orchestral music and sci-fi media, The World Is Dying aims to be music that Hayhurst “wants to listen to.” Can this one-woman independent release fulfill her ambitions and succeed in producing a quality prog album where her contemporaries have failed?

Grace Hayhurst demonstrates a clear familiarity with prog, which she uses to craft engaging and varied songs. Her brand of prog metal is very much in line with the approach to the subgenre crystallized by Dream Theater and modernized by Haken, complete with a dash of extra British flavor á la Steven Wilson and Gentle Giant. Vocal-led compositions feature keyboards front and center, alongside odd time signatures and syncopated guitar riffs across dynamic shifts between softer, atmospheric moments and heavier passages with distorted power chords. Hayhurst follows the “prog playbook” while managing to avoid the common pitfalls of unfocused songwriting and extended solo sections, which plague many of her contemporaries. Instead of mashing together unrelated parts around a vague pop song structure, she builds on a distinct rhythmic or melodic motif and follows it throughout a song. Hayhurst weaves in and out of verses, choruses, and solos while dialing the intensity up or down depending on the part. The World Is Dying’s strongest songs use such motifs as central throughlines, complicating and enhancing compositions through texture and instrument substitutions (“Us vs Them,” “Revolution”).

Stunning compositions are only part of a successful prog equation, though, and unfortunately, Grace Hayhurst is an unengaging vocalist. The vocal parts themselves are all competently written, but vocally, she lacks the power or personality necessary to lead songs consisting of big hooks and dramatic peaks. Her vocal delivery is breathy and devoid of emotion. This makes the more chorus-focused songs (“The World Is Dying,” “It’s Our Fault”) significantly weaker, as each song’s repeated centerpiece falls flat. This isn’t helped by uninspiring lyrics throughout, which are presented with crystal clear audibility due to the production style. The record is entirely about humankind’s destruction of the Earth and the lack of consequences for those in power who have caused this. Yet, there’s no use of metaphor or abstraction in dealing with this potentially rich topic, just relatively plain language doled out in obvious rhyme schemes. After repeated listens, I find myself constantly pulled away from the tension created by lush instrumentation when what should be a memorable vocal moment fails to land.

When the vocals aren’t centered, The World Is Dying is loaded with engaging compositions, replete with musical layers and countermelodies that elevate an already-strong instrumental core. The individual sections themselves can sometimes veer into predictable, generic prog territory, but there is no shortage of textural flavor or variety, which adds nuance and replayability to several tunes. Nature sound effects are used to strengthen the concept while deepening the sonic space (“Our Forest, the Earth”), slap bass is employed for some funktastic groove changeups (“Us Vs. Them”) and guitar/synth melodies are embellished with tasty, doubled harmonies or added strings and orchestral flare (“Take Off”). On the vocal end, there are efforts made with layered harmonies and vocoders to make things a bit more interesting by pulling the focus away from a single vocal performance. Even harsh vocals are deployed at a few key moments, such as the end of the 13-minute “Revolution,” to great effect. Although on the track list, this is followed by an interlude and then the album closer, “Absent Futures,” a vocal-led acoustic ballad that falls flat due to its form.

The World Is Dying displays plenty of promise, but its potential is hampered by one unfortunately lackluster element. As a lover of prog, Grace Hayhurst’s debut is almost filled with enough whimsy and clever songwriting to excite me, but is ultimately held back by its weak vocals. I could see Hayhurst functioning well as the primary composer for a prog metal band with a dedicated singer. She still has some growth before carrying a full band on her own. For now, this album finds itself in the same predicament as its cover art: a competent package whose thematic cohesion is displaced by one disappointing component.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Independent
Websites: gracehr.st| gracehrst.bandcamp.com
Releases Worldwide: June 27th, 2025

#25 #2025 #DreamTheater #GentleGiant #GraceHayhurst #Haken #Jun25 #ProgressiveMetal #Review #Reviews #SelfReleases #StevenWilson #TheWorldIsDying

Grace Hayhurst – The World Is Dying Review

By Angry Metal Guy

Written By: Nameless_n00b_601

Making good progressive metal is incredibly difficult. Where styles like black metal can still succeed without considered songwriting or astonishing musicianship, prog is a fickle mistress, demanding expert songcraft that balances dynamic peaks and valleys, as well as considerable instrumental prowess. Even prog’s biggest bands still routinely falter when armed with a fearsome squad of world-class musicians and major label backing.1 Still, this fails to deter new artists without such resources from aiming for the sheer highs the style can offer. Enter English multi-instrumentalist Grace Hayhurst and her debut record, The World Is Dying. Except for drums, Hayhurst accomplishes the impressive task of composing and performing an expansive prog album entirely by herself. Informed by both ’70s prog rock and modern prog metal, alongside orchestral music and sci-fi media, The World Is Dying aims to be music that Hayhurst “wants to listen to.” Can this one-woman independent release fulfill her ambitions and succeed in producing a quality prog album where her contemporaries have failed?

Grace Hayhurst demonstrates a clear familiarity with prog, which she uses to craft engaging and varied songs. Her brand of prog metal is very much in line with the approach to the subgenre crystallized by Dream Theater and modernized by Haken, complete with a dash of extra British flavor á la Steven Wilson and Gentle Giant. Vocal-led compositions feature keyboards front and center, alongside odd time signatures and syncopated guitar riffs across dynamic shifts between softer, atmospheric moments and heavier passages with distorted power chords. Hayhurst follows the “prog playbook” while managing to avoid the common pitfalls of unfocused songwriting and extended solo sections, which plague many of her contemporaries. Instead of mashing together unrelated parts around a vague pop song structure, she builds on a distinct rhythmic or melodic motif and follows it throughout a song. Hayhurst weaves in and out of verses, choruses, and solos while dialing the intensity up or down depending on the part. The World Is Dying’s strongest songs use such motifs as central throughlines, complicating and enhancing compositions through texture and instrument substitutions (“Us vs Them,” “Revolution”).

Stunning compositions are only part of a successful prog equation, though, and unfortunately, Grace Hayhurst is an unengaging vocalist. The vocal parts themselves are all competently written, but vocally, she lacks the power or personality necessary to lead songs consisting of big hooks and dramatic peaks. Her vocal delivery is breathy and devoid of emotion. This makes the more chorus-focused songs (“The World Is Dying,” “It’s Our Fault”) significantly weaker, as each song’s repeated centerpiece falls flat. This isn’t helped by uninspiring lyrics throughout, which are presented with crystal clear audibility due to the production style. The record is entirely about humankind’s destruction of the Earth and the lack of consequences for those in power who have caused this. Yet, there’s no use of metaphor or abstraction in dealing with this potentially rich topic, just relatively plain language doled out in obvious rhyme schemes. After repeated listens, I find myself constantly pulled away from the tension created by lush instrumentation when what should be a memorable vocal moment fails to land.

When the vocals aren’t centered, The World Is Dying is loaded with engaging compositions, replete with musical layers and countermelodies that elevate an already-strong instrumental core. The individual sections themselves can sometimes veer into predictable, generic prog territory, but there is no shortage of textural flavor or variety, which adds nuance and replayability to several tunes. Nature sound effects are used to strengthen the concept while deepening the sonic space (“Our Forest, the Earth”), slap bass is employed for some funktastic groove changeups (“Us Vs. Them”) and guitar/synth melodies are embellished with tasty, doubled harmonies or added strings and orchestral flare (“Take Off”). On the vocal end, there are efforts made with layered harmonies and vocoders to make things a bit more interesting by pulling the focus away from a single vocal performance. Even harsh vocals are deployed at a few key moments, such as the end of the 13-minute “Revolution,” to great effect. Although on the track list, this is followed by an interlude and then the album closer, “Absent Futures,” a vocal-led acoustic ballad that falls flat due to its form.

The World Is Dying displays plenty of promise, but its potential is hampered by one unfortunately lackluster element. As a lover of prog, Grace Hayhurst’s debut is almost filled with enough whimsy and clever songwriting to excite me, but is ultimately held back by its weak vocals. I could see Hayhurst functioning well as the primary composer for a prog metal band with a dedicated singer. She still has some growth before carrying a full band on her own. For now, this album finds itself in the same predicament as its cover art: a competent package whose thematic cohesion is displaced by one disappointing component.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Independent
Websites: gracehr.st| gracehrst.bandcamp.com
Releases Worldwide: June 27th, 2025

#25 #2025 #DreamTheater #GentleGiant #GraceHayhurst #Haken #Jun25 #ProgressiveMetal #Review #Reviews #SelfReleases #StevenWilson #TheWorldIsDying

Grace Hayhurst – The World Is Dying Review

By Angry Metal Guy

Written By: Nameless_n00b_601

Making good progressive metal is incredibly difficult. Where styles like black metal can still succeed without considered songwriting or astonishing musicianship, prog is a fickle mistress, demanding expert songcraft that balances dynamic peaks and valleys, as well as considerable instrumental prowess. Even prog’s biggest bands still routinely falter when armed with a fearsome squad of world-class musicians and major label backing.1 Still, this fails to deter new artists without such resources from aiming for the sheer highs the style can offer. Enter English multi-instrumentalist Grace Hayhurst and her debut record, The World Is Dying. Except for drums, Hayhurst accomplishes the impressive task of composing and performing an expansive prog album entirely by herself. Informed by both ’70s prog rock and modern prog metal, alongside orchestral music and sci-fi media, The World Is Dying aims to be music that Hayhurst “wants to listen to.” Can this one-woman independent release fulfill her ambitions and succeed in producing a quality prog album where her contemporaries have failed?

Grace Hayhurst demonstrates a clear familiarity with prog, which she uses to craft engaging and varied songs. Her brand of prog metal is very much in line with the approach to the subgenre crystallized by Dream Theater and modernized by Haken, complete with a dash of extra British flavor á la Steven Wilson and Gentle Giant. Vocal-led compositions feature keyboards front and center, alongside odd time signatures and syncopated guitar riffs across dynamic shifts between softer, atmospheric moments and heavier passages with distorted power chords. Hayhurst follows the “prog playbook” while managing to avoid the common pitfalls of unfocused songwriting and extended solo sections, which plague many of her contemporaries. Instead of mashing together unrelated parts around a vague pop song structure, she builds on a distinct rhythmic or melodic motif and follows it throughout a song. Hayhurst weaves in and out of verses, choruses, and solos while dialing the intensity up or down depending on the part. The World Is Dying’s strongest songs use such motifs as central throughlines, complicating and enhancing compositions through texture and instrument substitutions (“Us vs Them,” “Revolution”).

Stunning compositions are only part of a successful prog equation, though, and unfortunately, Grace Hayhurst is an unengaging vocalist. The vocal parts themselves are all competently written, but vocally, she lacks the power or personality necessary to lead songs consisting of big hooks and dramatic peaks. Her vocal delivery is breathy and devoid of emotion. This makes the more chorus-focused songs (“The World Is Dying,” “It’s Our Fault”) significantly weaker, as each song’s repeated centerpiece falls flat. This isn’t helped by uninspiring lyrics throughout, which are presented with crystal clear audibility due to the production style. The record is entirely about humankind’s destruction of the Earth and the lack of consequences for those in power who have caused this. Yet, there’s no use of metaphor or abstraction in dealing with this potentially rich topic, just relatively plain language doled out in obvious rhyme schemes. After repeated listens, I find myself constantly pulled away from the tension created by lush instrumentation when what should be a memorable vocal moment fails to land.

When the vocals aren’t centered, The World Is Dying is loaded with engaging compositions, replete with musical layers and countermelodies that elevate an already-strong instrumental core. The individual sections themselves can sometimes veer into predictable, generic prog territory, but there is no shortage of textural flavor or variety, which adds nuance and replayability to several tunes. Nature sound effects are used to strengthen the concept while deepening the sonic space (“Our Forest, the Earth”), slap bass is employed for some funktastic groove changeups (“Us Vs. Them”) and guitar/synth melodies are embellished with tasty, doubled harmonies or added strings and orchestral flare (“Take Off”). On the vocal end, there are efforts made with layered harmonies and vocoders to make things a bit more interesting by pulling the focus away from a single vocal performance. Even harsh vocals are deployed at a few key moments, such as the end of the 13-minute “Revolution,” to great effect. Although on the track list, this is followed by an interlude and then the album closer, “Absent Futures,” a vocal-led acoustic ballad that falls flat due to its form.

The World Is Dying displays plenty of promise, but its potential is hampered by one unfortunately lackluster element. As a lover of prog, Grace Hayhurst’s debut is almost filled with enough whimsy and clever songwriting to excite me, but is ultimately held back by its weak vocals. I could see Hayhurst functioning well as the primary composer for a prog metal band with a dedicated singer. She still has some growth before carrying a full band on her own. For now, this album finds itself in the same predicament as its cover art: a competent package whose thematic cohesion is displaced by one disappointing component.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Independent
Websites: gracehr.st| gracehrst.bandcamp.com
Releases Worldwide: June 27th, 2025

#25 #2025 #DreamTheater #GentleGiant #GraceHayhurst #Haken #Jun25 #ProgressiveMetal #Review #Reviews #SelfReleases #StevenWilson #TheWorldIsDying

Grace Hayhurst – The World Is Dying Review

By Angry Metal Guy

Written By: Nameless_n00b_601

Making good progressive metal is incredibly difficult. Where styles like black metal can still succeed without considered songwriting or astonishing musicianship, prog is a fickle mistress, demanding expert songcraft that balances dynamic peaks and valleys, as well as considerable instrumental prowess. Even prog’s biggest bands still routinely falter when armed with a fearsome squad of world-class musicians and major label backing.1 Still, this fails to deter new artists without such resources from aiming for the sheer highs the style can offer. Enter English multi-instrumentalist Grace Hayhurst and her debut record, The World Is Dying. Except for drums, Hayhurst accomplishes the impressive task of composing and performing an expansive prog album entirely by herself. Informed by both ’70s prog rock and modern prog metal, alongside orchestral music and sci-fi media, The World Is Dying aims to be music that Hayhurst “wants to listen to.” Can this one-woman independent release fulfill her ambitions and succeed in producing a quality prog album where her contemporaries have failed?

Grace Hayhurst demonstrates a clear familiarity with prog, which she uses to craft engaging and varied songs. Her brand of prog metal is very much in line with the approach to the subgenre crystallized by Dream Theater and modernized by Haken, complete with a dash of extra British flavor á la Steven Wilson and Gentle Giant. Vocal-led compositions feature keyboards front and center, alongside odd time signatures and syncopated guitar riffs across dynamic shifts between softer, atmospheric moments and heavier passages with distorted power chords. Hayhurst follows the “prog playbook” while managing to avoid the common pitfalls of unfocused songwriting and extended solo sections, which plague many of her contemporaries. Instead of mashing together unrelated parts around a vague pop song structure, she builds on a distinct rhythmic or melodic motif and follows it throughout a song. Hayhurst weaves in and out of verses, choruses, and solos while dialing the intensity up or down depending on the part. The World Is Dying’s strongest songs use such motifs as central throughlines, complicating and enhancing compositions through texture and instrument substitutions (“Us vs Them,” “Revolution”).

Stunning compositions are only part of a successful prog equation, though, and unfortunately, Grace Hayhurst is an unengaging vocalist. The vocal parts themselves are all competently written, but vocally, she lacks the power or personality necessary to lead songs consisting of big hooks and dramatic peaks. Her vocal delivery is breathy and devoid of emotion. This makes the more chorus-focused songs (“The World Is Dying,” “It’s Our Fault”) significantly weaker, as each song’s repeated centerpiece falls flat. This isn’t helped by uninspiring lyrics throughout, which are presented with crystal clear audibility due to the production style. The record is entirely about humankind’s destruction of the Earth and the lack of consequences for those in power who have caused this. Yet, there’s no use of metaphor or abstraction in dealing with this potentially rich topic, just relatively plain language doled out in obvious rhyme schemes. After repeated listens, I find myself constantly pulled away from the tension created by lush instrumentation when what should be a memorable vocal moment fails to land.

When the vocals aren’t centered, The World Is Dying is loaded with engaging compositions, replete with musical layers and countermelodies that elevate an already-strong instrumental core. The individual sections themselves can sometimes veer into predictable, generic prog territory, but there is no shortage of textural flavor or variety, which adds nuance and replayability to several tunes. Nature sound effects are used to strengthen the concept while deepening the sonic space (“Our Forest, the Earth”), slap bass is employed for some funktastic groove changeups (“Us Vs. Them”) and guitar/synth melodies are embellished with tasty, doubled harmonies or added strings and orchestral flare (“Take Off”). On the vocal end, there are efforts made with layered harmonies and vocoders to make things a bit more interesting by pulling the focus away from a single vocal performance. Even harsh vocals are deployed at a few key moments, such as the end of the 13-minute “Revolution,” to great effect. Although on the track list, this is followed by an interlude and then the album closer, “Absent Futures,” a vocal-led acoustic ballad that falls flat due to its form.

The World Is Dying displays plenty of promise, but its potential is hampered by one unfortunately lackluster element. As a lover of prog, Grace Hayhurst’s debut is almost filled with enough whimsy and clever songwriting to excite me, but is ultimately held back by its weak vocals. I could see Hayhurst functioning well as the primary composer for a prog metal band with a dedicated singer. She still has some growth before carrying a full band on her own. For now, this album finds itself in the same predicament as its cover art: a competent package whose thematic cohesion is displaced by one disappointing component.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Independent
Websites: gracehr.st| gracehrst.bandcamp.com
Releases Worldwide: June 27th, 2025

#25 #2025 #DreamTheater #GentleGiant #GraceHayhurst #Haken #Jun25 #ProgressiveMetal #Review #Reviews #SelfReleases #StevenWilson #TheWorldIsDying

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

A-Z – A2Z² Review

By Dolphin Whisperer

In the eyes of a legacy creator, novelty and personal excitement drive the continued pursuit of the release. Mark Zonder, esteemed drummer of Warlord and formerly of Fates Warning, lives by this mantra, using A-Z as an outlet for his frenetic rhythmic focus surrounded by the performances of trusted partners. While mic-mate Ray Alder (Fates Warning, ex-Redemption) and thick-string-slinger Philip Bynoe (Warlord, Steve Vai) have returned to the fold for this follow-up, A2Z², to 2022’s self-titled debut, much of the cast looks to earn their stripes here. Slick-licked guitarists Nick van Dyke (Redemption) and Simone Mularoni (DGM, ex-Sunstorm)1 lean less ’80s but as fierce as ever in riffcraft and thicker assault. And keys maestro Jimmy Waldo (Alcatrazz, Warlord) partners in breezy build and shimmering accent to keep A2Z² rooted in whimsical wail. No need to teach old dogs new tricks when they’ve got barbs built into their every bite.

In an extension of A-Z’s mission of looking to write a diverse array of heavy metal cuts, A2Z² doubles down on the depths of tone throughout. The guitar duo of Van Dyke and Mularoni shifts from burly chords and knotty fills (“Fire Away,” “I Am Numb”) to slippery Steve Vai-leaning histrionics (“Nothing Is Over,” “Now I Walk Away”) to chiming melodic builds (“A Wordless Prison,” “This Chaotic Symphony”) on the turn of a blaring amp. And Alder, in turn, embodies through his chiseled-by-age gruff croon an expressive range from schmaltzy, forlorn ballad (“Wordless Prison” is a classic fit for this mode) to fist-raising, powerhouse crowd-movers, with the opening trio of tracks scorching hot in his lyrical fury. Of course, the cherry on top will always be Zonder’s progressive and playful Peart-indebted2 percussion, with capricious chatter laced in e-tom boings, hi-hat stutters, and tilted-frame shuffles that always move the music forward.

Despite this constant momentum within each track, A2Z² has a tricky flow between its aggressive and contemplative moments that presents as a barrier to easy full attachment. A-Z sticks to a formula—the classic verse-chorus ABABCB rock platform imbued with sick solos and hooks that reach for the stickiness of an act like Toto. And likewise, in this heavy stride, Alder finds a power and grit on aggressive numbers that matches so well the beefier guitar presence and pulsing rhythms (“Fire Away,” “Running in Place,” “I Am Numb”). But A2Z², being an experience built on the power of individual songs, runs into a momentum issue trudging through three slower songs, either ballads or mid-paced thumps, smack dab in the middle of the album (“A Wordless Prison,” “Reaching Out,” “The Remedy”). The professional ensemble of A-Z ensures that these songs are still good, of course—I never press skip. But the back half does feel hidden while trying to digest this run on early listens.

Alas, A-Z’s ability to pepper simple structures with colorful sonic texture and virtuosic aplomb continues to be a treat to harmony-seeking ears. Once you do hit side B, lush vocal layers against prog/power giddy-up (“I Am Numb”), dancing cello builds (“This Chaotic Symphony”), and slow burn-to-stewed solo extravagance (“Now I Walk Away”) land hit after hit on an audience looking for accidental displays of public karaoke and air shredding. A2Z² has no issue cranking the heat, starting from the get-go with scorching heavy metal and escalating in progressive play to the very end. And even at its weakest moments, both Alder and Zonder can use their talents in hot honey verse and tap-happy navigation, respectively, to fill a lull with a couple standout moments (“Wordless Prison,” “Reaching Out”).

Oftentimes, with this many Iron Chef cooks in the kitchen, an act of the collective talent that A-Z possesses can flounder out in noodle-forward instrumentation and gutless yet pretty refrain. However, A2Z² solidifies that when legacy artists form under a mission to create bold songs in an elevated, tangible package, great things can happen. A-Z isn’t revolutionary—nor do I think Zonder and co. are aiming for that kind of stamp on the heavy metal community. But A2Z², steeped in targeted chorus, searing leads, and stimulating percussive strut, remains a modern pleasure in its tried, true, and tricky demeanor.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Metal Blade | Bandcamp
Websites: a-zband.com | facebook.com/AthruZBand
Release Worldwide: June 6th, 2025

#2025 #35 #AZ #A2Z_ #Alcatrazz #DGM #FatesWarning #HeavyMetal #InternationalMetal #Jun25 #MetalBlade #ProgressiveRock #Redemption #Review #Reviews #Rush #SteveVai #Toto #Warlord

https://www.europesays.com/uk/248245/ The Bleak Picture – Shades of Life Review #2.5 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #Entertainment #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #music #ParadiseLost #rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture #UK #UnitedKingdom

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Acidsloth – Acidsloth Review

By Thus Spoke

Can you guess what genre Acidsloth plays? Yes, that’s right, it’s thrash! Ok, no, obviously not, it’s stoner doom—what else with a name that’s a portmanteau of a drug and a notoriously slow-moving animal? Kicking1 around since 2021, Kraków’s Acidsloth already have two LPs to their name, but it’s their third that they bestow the honor of being self-titled. The reason is that this time, they’re a “full band” (to use their own terminology), totaling eight(!) musicians, five of whom perform vocals. In this sense, Acidsloth is kind of their debut. With a charmingly against-type depiction of their token animal, and the promise of “Eyehategod-level aggression mixed with Conan’s heaviness and Electric Wizard’s psychedelic weight,” Acidsloth are out to show they mean business.

Acidsloth’s more-is-more approach to vocalists sees them hand the mic to a new player on (almost) every track.2 This is a cool and unique way to inject a bit of flavor into what is an infamously monotonous subgenre, as we swap between the shriekier (Julia Markiewicz, Radosław Bury), hoarser (Jan Gajewski, Mateusz Zborowski) and the growlier (Patryk Kozera) interpretations of the sludge scream. Beyond this, their compositions follow a common trajectory, often beginning with atmospheric, slightly ominous plucking and spending most of their time brooding in distorted sludgy chugs to a sedated beat. It’s certainly solid (in literal density as well as aesthetic quality), and sometimes it’s even slick thanks to some beautifully-timed transitions and an elusive solo. But as a whole, it fails to have the weight it needs to support its posture.

The thing about having different vocalists on different songs is that it’s quite important to be able to hear them well enough to appreciate their individual skills. Unfortunately, Acidsloth’s vocal track is so low in the mix compared to the instrumentation that the shouts and screams are often lost in the fuzz and bang of guitar and bass drum (particularly on “Float” and “Sin”). Given this, you’d hope the riffs would make up for it, but here too, Acidsloth fumble the ball. Outside of two pretty sweet solos (“Hole,” “Puke”) the guitars only hint at interesting melodies with some hanging plucks (“Hole,” “Free,” “Puke,” “Satan”), and interspersed passages of up-or-down-tempo strumming (“Float,” “Satan”). There are little moments of brilliance where it seems Acidsloth finally finish coming up and deliver—brutal, sledgehammer sludge screams (“Float,” “Free”); that solo (“Hole”); groovily-tapping post metal tension (“Free,” “Satan”); moody liquid plucks (“Sin”). But it’s at these times when Acidsloth’s odd compositional habits truly hamstring what strength they gained. Frequently, songs switch gears midway, and then again, and yet manage to reprise the least-interesting elements of monotony; the cool parts not given time to command the space they deserve (“Hole,” “Free,” “Sin,” “Puke”). The worst case is “Free,” which could have Amenra-esque levels of bite and solemnity, if the mid-tier galloping sludge didn’t smother the harrowing howls, and the anticipatory build that interrupts it set the tone instead.

Doom of any kind, and sludge for that matter, is at heart designed to be uncomplicated, but its presence—whether through emotional depth or sheer magnitude—is what makes it powerful. Alternatively, maybe it can just make you feel good with some psychedelically lush soundscapes. Acidsloth has no presence beyond its literal noisiness, and there’s but a glimmer of color in the melodies. The near-inaudibility of the vocalists is made worse by the frequent use of reverb, and what is either multi-tracking or group shouts (their muddiness makes it hard to tell). The music isn’t “boring,” as such, it’s just draining to listen to, as all the best riffs, screams, and good use of rhythm and atmosphere are quite quickly ironed over with a return to the plod and a sheen of humming feedback. One thus ends up walking away with the unfair impression that there’s simply nothing going on in the entire record. Even in active listens, I struggled to cling to the positive vibes.

As a stoner doom album, maybe Acidsloth is standard fare, but I would like to think not. As a sludge album, it fares better, thanks to an emphasis on chunky—albeit mostly dull—riffing and the fact that at least some of the vocalists seem to have promise. Acidsloth are finding their feet as an ensemble, and if they can pool their assets, I think they could make something pretty juicy. Hopefully, they make the move faster than the animal they’re named for.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Willowtip
Websites: Bandcamp | Facebook
Releases Worldwide: June 20th, 2025

#20 #2025 #Acidsloth #Amenra #Conan #CultOfLuna #DoomMetal #ElectricWizard #Eyehategod #Jun25 #PolishMetal #PostMetal #Review #Reviews #SelfReleases #Sludge #StonerDoom

Nad Sylvan – Monumentata Review

By El Cuervo

Nad Sylvan has enjoyed a decade-long stint in my music library and rambling writings at Angry Metal Guy. His “vampire” trilogy (Courting the Widow, The Bride Said No and The Regal Bastard) offers a charming platter of 70s-influenced progressive rock, but I immediately found the twee successor entitled Spiritus Mundi irritating; so I promptly handed off the review to someone else. But the passage of four years – and the exit of the intervening reviewer – sees my return to the musical realms of this bold Swede. Where has his heartfelt muse led him on 2025’s Monumentata?

On first listen, you’d be forgiven for thinking Sylvan had simplified his songwriting. But on subsequent listens, you’d learn that his hand has instead become more subtle and less ‘progressive.’ The songs on Monumentata are shorter, streamlined, and linear, featuring a poppy cadence. But they still draw from a blend of influences, this time encompassing prog and alt rock, fun,k and jazz. And there’s a tangible texture and depth to their compositions. “That’s Not Me” benefits from lively counter-pointing keyboard and guitar melodies, and I love the mini-crescendo from 2:45 on “Monte Carlo Priceless” as Sylvan’s vocals escalate amid the loudening drums and delicate streams of electric guitar. Likewise, “Flowerland” clashes layers of vocal counter-melodies into a climactic finale. It feels like the thinking man’s pop, similar to but nothing like Tears for Fears. Sylvan is proven not just an excellent instrumentalist but an accomplished composer. Monumentata sounds simple on first listen, but there are layers behind that simplicity and the more you listen, the more you hear.

Sylvan ordinarily oozes nerdiness, but here he oozes cool. As much as I love progressive rock, so often it’s overwrought and feels like the product of a significant effort. But on Monumentata, his songwriting has never felt so slick or effortless. Both “Secret Love” and “That’s Not Me” open the record with sharp, crunchy leads, prioritizing The Riff in a way that he hasn’t previously. Even when those riffs morph into something more technical, befitting a writer grounded in prog, they complement the passages they fit into. While swooshing synths and the piano bulk out the songs’ textures, Sylvan focuses here on guitar and vocal melodies. And though his bluesy, nasally voice has always been his signature, prominently layering this at the top of the mix indicates a man completely at ease with himself. The songs still revolve around the recognizably melodramatic stories, but they’re more comfortable and easier to enjoy. It’s the sound of a man with swagger in his stride.

But above all, Monumentata succeeds because it converges around memorable, individualistic songs. Each has a clear style and hook that separates it from the remainder. “Secret Lover” and “That’s Not Me” demonstrate a newfound interest in guitar riffs, while “Monte Carlo Priceless” pursues a beautifully serene tone. Meanwhile, “Wildfire” has a grand chorus and operates as the album’s fulcrum. “Make Somebody Proud” is jazzy. “I’m Stepping Out” is funky. “Monumentata” is exquisitely mournful. Each track has a place in the album’s flow (even if not every song is great; “I’m Stepping Out” is an obvious weakness). Monumentata feels like a return to the variety of Sylvan’s vampire trilogy because while Spiritus Mundi was more tonally steady, it wasn’t as good. The corresponding weakness with this approach is that this record doesn’t always feel very consistent or cohesive. Nonetheless, it remains hard to deny a release that collects good songs.

2025 sees Sylvan hitting a rich vein of form as Monumentata is enjoyably melodic and slickly composed. Though it takes repetition for the hooks to sink in and for the intricate compositions to reveal themselves, the music is so slick that my criticisms easily wash off. It invokes a mild sense of wonder and joy. It’s not a record designed to hit the joy receptors within seconds, but it is a record that generates more joy the more time you spend with it. Experimental rock and pop fans will surely find plenty to enjoy here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps MP3
Label: Inside Out Music
Websites: nadsylvan.com | facebook.com/nadsylvan
Releases Worldwide: June 27th, 2025

#2025 #35 #Jazz #Jun25 #Monumentata #NadSylvan #ProgressiveRock #Review #Reviews #SwedishMetal #TearsForFears

Nad Sylvan – Monumentata Review

By El Cuervo

Nad Sylvan has enjoyed a decade-long stint in my music library and rambling writings at Angry Metal Guy. His “vampire” trilogy (Courting the Widow, The Bride Said No and The Regal Bastard) offers a charming platter of 70s-influenced progressive rock, but I immediately found the twee successor entitled Spiritus Mundi irritating; so I promptly handed off the review to someone else. But the passage of four years – and the exit of the intervening reviewer – sees my return to the musical realms of this bold Swede. Where has his heartfelt muse led him on 2025’s Monumentata?

On first listen, you’d be forgiven for thinking Sylvan had simplified his songwriting. But on subsequent listens, you’d learn that his hand has instead become more subtle and less ‘progressive.’ The songs on Monumentata are shorter, streamlined, and linear, featuring a poppy cadence. But they still draw from a blend of influences, this time encompassing prog and alt rock, fun,k and jazz. And there’s a tangible texture and depth to their compositions. “That’s Not Me” benefits from lively counter-pointing keyboard and guitar melodies, and I love the mini-crescendo from 2:45 on “Monte Carlo Priceless” as Sylvan’s vocals escalate amid the loudening drums and delicate streams of electric guitar. Likewise, “Flowerland” clashes layers of vocal counter-melodies into a climactic finale. It feels like the thinking man’s pop, similar to but nothing like Tears for Fears. Sylvan is proven not just an excellent instrumentalist but an accomplished composer. Monumentata sounds simple on first listen, but there are layers behind that simplicity and the more you listen, the more you hear.

Sylvan ordinarily oozes nerdiness, but here he oozes cool. As much as I love progressive rock, so often it’s overwrought and feels like the product of a significant effort. But on Monumentata, his songwriting has never felt so slick or effortless. Both “Secret Love” and “That’s Not Me” open the record with sharp, crunchy leads, prioritizing The Riff in a way that he hasn’t previously. Even when those riffs morph into something more technical, befitting a writer grounded in prog, they complement the passages they fit into. While swooshing synths and the piano bulk out the songs’ textures, Sylvan focuses here on guitar and vocal melodies. And though his bluesy, nasally voice has always been his signature, prominently layering this at the top of the mix indicates a man completely at ease with himself. The songs still revolve around the recognizably melodramatic stories, but they’re more comfortable and easier to enjoy. It’s the sound of a man with swagger in his stride.

But above all, Monumentata succeeds because it converges around memorable, individualistic songs. Each has a clear style and hook that separates it from the remainder. “Secret Lover” and “That’s Not Me” demonstrate a newfound interest in guitar riffs, while “Monte Carlo Priceless” pursues a beautifully serene tone. Meanwhile, “Wildfire” has a grand chorus and operates as the album’s fulcrum. “Make Somebody Proud” is jazzy. “I’m Stepping Out” is funky. “Monumentata” is exquisitely mournful. Each track has a place in the album’s flow (even if not every song is great; “I’m Stepping Out” is an obvious weakness). Monumentata feels like a return to the variety of Sylvan’s vampire trilogy because while Spiritus Mundi was more tonally steady, it wasn’t as good. The corresponding weakness with this approach is that this record doesn’t always feel very consistent or cohesive. Nonetheless, it remains hard to deny a release that collects good songs.

2025 sees Sylvan hitting a rich vein of form as Monumentata is enjoyably melodic and slickly composed. Though it takes repetition for the hooks to sink in and for the intricate compositions to reveal themselves, the music is so slick that my criticisms easily wash off. It invokes a mild sense of wonder and joy. It’s not a record designed to hit the joy receptors within seconds, but it is a record that generates more joy the more time you spend with it. Experimental rock and pop fans will surely find plenty to enjoy here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps MP3
Label: Inside Out Music
Websites: nadsylvan.com | facebook.com/nadsylvan
Releases Worldwide: June 27th, 2025

#2025 #35 #Jazz #Jun25 #Monumentata #NadSylvan #ProgressiveRock #Review #Reviews #SwedishMetal #TearsForFears

Nad Sylvan – Monumentata Review

By El Cuervo

Nad Sylvan has enjoyed a decade-long stint in my music library and rambling writings at Angry Metal Guy. His “vampire” trilogy (Courting the Widow, The Bride Said No and The Regal Bastard) offers a charming platter of 70s-influenced progressive rock, but I immediately found the twee successor entitled Spiritus Mundi irritating; so I promptly handed off the review to someone else. But the passage of four years – and the exit of the intervening reviewer – sees my return to the musical realms of this bold Swede. Where has his heartfelt muse led him on 2025’s Monumentata?

On first listen, you’d be forgiven for thinking Sylvan had simplified his songwriting. But on subsequent listens, you’d learn that his hand has instead become more subtle and less ‘progressive.’ The songs on Monumentata are shorter, streamlined, and linear, featuring a poppy cadence. But they still draw from a blend of influences, this time encompassing prog and alt rock, fun,k and jazz. And there’s a tangible texture and depth to their compositions. “That’s Not Me” benefits from lively counter-pointing keyboard and guitar melodies, and I love the mini-crescendo from 2:45 on “Monte Carlo Priceless” as Sylvan’s vocals escalate amid the loudening drums and delicate streams of electric guitar. Likewise, “Flowerland” clashes layers of vocal counter-melodies into a climactic finale. It feels like the thinking man’s pop, similar to but nothing like Tears for Fears. Sylvan is proven not just an excellent instrumentalist but an accomplished composer. Monumentata sounds simple on first listen, but there are layers behind that simplicity and the more you listen, the more you hear.

Sylvan ordinarily oozes nerdiness, but here he oozes cool. As much as I love progressive rock, so often it’s overwrought and feels like the product of a significant effort. But on Monumentata, his songwriting has never felt so slick or effortless. Both “Secret Love” and “That’s Not Me” open the record with sharp, crunchy leads, prioritizing The Riff in a way that he hasn’t previously. Even when those riffs morph into something more technical, befitting a writer grounded in prog, they complement the passages they fit into. While swooshing synths and the piano bulk out the songs’ textures, Sylvan focuses here on guitar and vocal melodies. And though his bluesy, nasally voice has always been his signature, prominently layering this at the top of the mix indicates a man completely at ease with himself. The songs still revolve around the recognizably melodramatic stories, but they’re more comfortable and easier to enjoy. It’s the sound of a man with swagger in his stride.

But above all, Monumentata succeeds because it converges around memorable, individualistic songs. Each has a clear style and hook that separates it from the remainder. “Secret Lover” and “That’s Not Me” demonstrate a newfound interest in guitar riffs, while “Monte Carlo Priceless” pursues a beautifully serene tone. Meanwhile, “Wildfire” has a grand chorus and operates as the album’s fulcrum. “Make Somebody Proud” is jazzy. “I’m Stepping Out” is funky. “Monumentata” is exquisitely mournful. Each track has a place in the album’s flow (even if not every song is great; “I’m Stepping Out” is an obvious weakness). Monumentata feels like a return to the variety of Sylvan’s vampire trilogy because while Spiritus Mundi was more tonally steady, it wasn’t as good. The corresponding weakness with this approach is that this record doesn’t always feel very consistent or cohesive. Nonetheless, it remains hard to deny a release that collects good songs.

2025 sees Sylvan hitting a rich vein of form as Monumentata is enjoyably melodic and slickly composed. Though it takes repetition for the hooks to sink in and for the intricate compositions to reveal themselves, the music is so slick that my criticisms easily wash off. It invokes a mild sense of wonder and joy. It’s not a record designed to hit the joy receptors within seconds, but it is a record that generates more joy the more time you spend with it. Experimental rock and pop fans will surely find plenty to enjoy here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps MP3
Label: Inside Out Music
Websites: nadsylvan.com | facebook.com/nadsylvan
Releases Worldwide: June 27th, 2025

#2025 #35 #Jazz #Jun25 #Monumentata #NadSylvan #ProgressiveRock #Review #Reviews #SwedishMetal #TearsForFears

Nad Sylvan – Monumentata Review

By El Cuervo

Nad Sylvan has enjoyed a decade-long stint in my music library and rambling writings at Angry Metal Guy. His “vampire” trilogy (Courting the Widow, The Bride Said No and The Regal Bastard) offers a charming platter of 70s-influenced progressive rock, but I immediately found the twee successor entitled Spiritus Mundi irritating; so I promptly handed off the review to someone else. But the passage of four years – and the exit of the intervening reviewer – sees my return to the musical realms of this bold Swede. Where has his heartfelt muse led him on 2025’s Monumentata?

On first listen, you’d be forgiven for thinking Sylvan had simplified his songwriting. But on subsequent listens, you’d learn that his hand has instead become more subtle and less ‘progressive.’ The songs on Monumentata are shorter, streamlined, and linear, featuring a poppy cadence. But they still draw from a blend of influences, this time encompassing prog and alt rock, fun,k and jazz. And there’s a tangible texture and depth to their compositions. “That’s Not Me” benefits from lively counter-pointing keyboard and guitar melodies, and I love the mini-crescendo from 2:45 on “Monte Carlo Priceless” as Sylvan’s vocals escalate amid the loudening drums and delicate streams of electric guitar. Likewise, “Flowerland” clashes layers of vocal counter-melodies into a climactic finale. It feels like the thinking man’s pop, similar to but nothing like Tears for Fears. Sylvan is proven not just an excellent instrumentalist but an accomplished composer. Monumentata sounds simple on first listen, but there are layers behind that simplicity and the more you listen, the more you hear.

Sylvan ordinarily oozes nerdiness, but here he oozes cool. As much as I love progressive rock, so often it’s overwrought and feels like the product of a significant effort. But on Monumentata, his songwriting has never felt so slick or effortless. Both “Secret Love” and “That’s Not Me” open the record with sharp, crunchy leads, prioritizing The Riff in a way that he hasn’t previously. Even when those riffs morph into something more technical, befitting a writer grounded in prog, they complement the passages they fit into. While swooshing synths and the piano bulk out the songs’ textures, Sylvan focuses here on guitar and vocal melodies. And though his bluesy, nasally voice has always been his signature, prominently layering this at the top of the mix indicates a man completely at ease with himself. The songs still revolve around the recognizably melodramatic stories, but they’re more comfortable and easier to enjoy. It’s the sound of a man with swagger in his stride.

But above all, Monumentata succeeds because it converges around memorable, individualistic songs. Each has a clear style and hook that separates it from the remainder. “Secret Lover” and “That’s Not Me” demonstrate a newfound interest in guitar riffs, while “Monte Carlo Priceless” pursues a beautifully serene tone. Meanwhile, “Wildfire” has a grand chorus and operates as the album’s fulcrum. “Make Somebody Proud” is jazzy. “I’m Stepping Out” is funky. “Monumentata” is exquisitely mournful. Each track has a place in the album’s flow (even if not every song is great; “I’m Stepping Out” is an obvious weakness). Monumentata feels like a return to the variety of Sylvan’s vampire trilogy because while Spiritus Mundi was more tonally steady, it wasn’t as good. The corresponding weakness with this approach is that this record doesn’t always feel very consistent or cohesive. Nonetheless, it remains hard to deny a release that collects good songs.

2025 sees Sylvan hitting a rich vein of form as Monumentata is enjoyably melodic and slickly composed. Though it takes repetition for the hooks to sink in and for the intricate compositions to reveal themselves, the music is so slick that my criticisms easily wash off. It invokes a mild sense of wonder and joy. It’s not a record designed to hit the joy receptors within seconds, but it is a record that generates more joy the more time you spend with it. Experimental rock and pop fans will surely find plenty to enjoy here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps MP3
Label: Inside Out Music
Websites: nadsylvan.com | facebook.com/nadsylvan
Releases Worldwide: June 27th, 2025

#2025 #35 #Jazz #Jun25 #Monumentata #NadSylvan #ProgressiveRock #Review #Reviews #SwedishMetal #TearsForFears

Nad Sylvan – Monumentata Review

By El Cuervo

Nad Sylvan has enjoyed a decade-long stint in my music library and rambling writings at Angry Metal Guy. His “vampire” trilogy (Courting the Widow, The Bride Said No and The Regal Bastard) offers a charming platter of 70s-influenced progressive rock, but I immediately found the twee successor entitled Spiritus Mundi irritating; so I promptly handed off the review to someone else. But the passage of four years – and the exit of the intervening reviewer – sees my return to the musical realms of this bold Swede. Where has his heartfelt muse led him on 2025’s Monumentata?

On first listen, you’d be forgiven for thinking Sylvan had simplified his songwriting. But on subsequent listens, you’d learn that his hand has instead become more subtle and less ‘progressive.’ The songs on Monumentata are shorter, streamlined, and linear, featuring a poppy cadence. But they still draw from a blend of influences, this time encompassing prog and alt rock, fun,k and jazz. And there’s a tangible texture and depth to their compositions. “That’s Not Me” benefits from lively counter-pointing keyboard and guitar melodies, and I love the mini-crescendo from 2:45 on “Monte Carlo Priceless” as Sylvan’s vocals escalate amid the loudening drums and delicate streams of electric guitar. Likewise, “Flowerland” clashes layers of vocal counter-melodies into a climactic finale. It feels like the thinking man’s pop, similar to but nothing like Tears for Fears. Sylvan is proven not just an excellent instrumentalist but an accomplished composer. Monumentata sounds simple on first listen, but there are layers behind that simplicity and the more you listen, the more you hear.

Sylvan ordinarily oozes nerdiness, but here he oozes cool. As much as I love progressive rock, so often it’s overwrought and feels like the product of a significant effort. But on Monumentata, his songwriting has never felt so slick or effortless. Both “Secret Love” and “That’s Not Me” open the record with sharp, crunchy leads, prioritizing The Riff in a way that he hasn’t previously. Even when those riffs morph into something more technical, befitting a writer grounded in prog, they complement the passages they fit into. While swooshing synths and the piano bulk out the songs’ textures, Sylvan focuses here on guitar and vocal melodies. And though his bluesy, nasally voice has always been his signature, prominently layering this at the top of the mix indicates a man completely at ease with himself. The songs still revolve around the recognizably melodramatic stories, but they’re more comfortable and easier to enjoy. It’s the sound of a man with swagger in his stride.

But above all, Monumentata succeeds because it converges around memorable, individualistic songs. Each has a clear style and hook that separates it from the remainder. “Secret Lover” and “That’s Not Me” demonstrate a newfound interest in guitar riffs, while “Monte Carlo Priceless” pursues a beautifully serene tone. Meanwhile, “Wildfire” has a grand chorus and operates as the album’s fulcrum. “Make Somebody Proud” is jazzy. “I’m Stepping Out” is funky. “Monumentata” is exquisitely mournful. Each track has a place in the album’s flow (even if not every song is great; “I’m Stepping Out” is an obvious weakness). Monumentata feels like a return to the variety of Sylvan’s vampire trilogy because while Spiritus Mundi was more tonally steady, it wasn’t as good. The corresponding weakness with this approach is that this record doesn’t always feel very consistent or cohesive. Nonetheless, it remains hard to deny a release that collects good songs.

2025 sees Sylvan hitting a rich vein of form as Monumentata is enjoyably melodic and slickly composed. Though it takes repetition for the hooks to sink in and for the intricate compositions to reveal themselves, the music is so slick that my criticisms easily wash off. It invokes a mild sense of wonder and joy. It’s not a record designed to hit the joy receptors within seconds, but it is a record that generates more joy the more time you spend with it. Experimental rock and pop fans will surely find plenty to enjoy here.

Rating: 3.5/5.0
DR: 11 | Format Reviewed: 320 kbps MP3
Label: Inside Out Music
Websites: nadsylvan.com | facebook.com/nadsylvan
Releases Worldwide: June 27th, 2025

#2025 #35 #Jazz #Jun25 #Monumentata #NadSylvan #ProgressiveRock #Review #Reviews #SwedishMetal #TearsForFears