#killingjoke — Public Fediverse posts

46 years ago
"Requiem" is a song by the English post-punk band Killing Joke, released in September 1980 as the second single from their first studio album Killing Joke and with "Change" as b-side.

#punk #punkrock #postpunk #postpunkmusic #killingjoke #history #punkrockhistory

46 years ago
"Requiem" is a song by the English post-punk band Killing Joke, released in September 1980 as the second single from their first studio album Killing Joke and with "Change" as b-side.

#punk #punkrock #postpunk #postpunkmusic #killingjoke #history #punkrockhistory

46 years ago
"Requiem" is a song by the English post-punk band Killing Joke, released in September 1980 as the second single from their first studio album Killing Joke and with "Change" as b-side.

#punk #punkrock #postpunk #postpunkmusic #killingjoke #history #punkrockhistory

46 years ago
"Requiem" is a song by the English post-punk band Killing Joke, released in September 1980 as the second single from their first studio album Killing Joke and with "Change" as b-side.

#punk #punkrock #postpunk #postpunkmusic #killingjoke #history #punkrockhistory

46 years ago
"Requiem" is a song by the English post-punk band Killing Joke, released in September 1980 as the second single from their first studio album Killing Joke and with "Change" as b-side.

#punk #punkrock #postpunk #postpunkmusic #killingjoke #history #punkrockhistory

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym