#may25 — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #may25, aggregated by home.social.
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Wordle's Daily Echo: A Fleeting Game in Shifting Seasons
Wordle players can still play the daily game on May 25, 2026. The game is available worldwide even though it is Memorial Day in the US and Eid al-Adha.
#Wordle, #May25, #DailyPuzzle, #GlobalGame, #2026
https://newsletter.tf/wordle-daily-game-may-25-2026-holidays/
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The daily Wordle puzzle is available today, May 25, 2026. This is the 145th day of the year. Many people are celebrating holidays like Memorial Day and Eid al-Adha.
#Wordle, #May25, #DailyPuzzle, #GlobalGame, #2026
https://newsletter.tf/wordle-daily-game-may-25-2026-holidays/ -
May 25 Memorial Day Weather Warming And Still Tracking More Rain
May 25 Monday Morning Report Thank you for reading this post, don’t forget to subscribe! I guess we…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #America #Climate #May25 #MemorialDayweekend #rain #Thunderstorms #UnitedStatesofAmerica #WeatherForecast
https://www.newsbeep.com/us/664530/ -
Happy May 25!
GDPR Day (General Data Protection Regulation, DSGVO DatenSchutzGrundVerOrdnung)
Geek Pride Day - https://en.wikipedia.org/wiki/Geek_Pride_Day
The Glorious 25th of May, Terry Pratchett's Discworld
Towel Day - http://www.towelday.org/
#May25 #GDPR #DSGVO #GeekPrideDay #TowelDay #TheGlorious25thOfMay
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Record(s) o’ the Month – May 2025
By Angry Metal Guy
There are months when the Record(s) o’ the Month feels like a sacred duty. It is the noble, worthwhile culmination of rigorous listening and passionate discourse.1 And then there’s May. May, a month in which Dr. A.N. Grier tried to vote for a band called… SEXCAVE or some shit four or five different times using different pseudonyms (but the same IP address), and where Dolphin Whisperer almost made me rage quit by making a single comment about “sky-tearing tonalities,” which, like… what kind of pretentious fucking bullshit is that? Do you people even listen to music, or do you just sit around all day making up stupid poetic ways of saying absolutely nothing?2 But if we’re fair, he wasn’t entirely wrong. Sometimes a record arrives that doesn’t just demand attention, it seizes it like an Aztec death deity grabbing the sun.3 So for the first time in a while, the best album in May came from an unsigned band. And not just any unsigned band. It came from a band proficient in bull riding!
The beauty of the Unsigned Band Rodeö lies in its chaos. No expectations. No promo sheets. No preconceived narratives. Just music dropped into our laps like cursed artifacts.4 On Nikan Axkan, which was self-released on May 2nd, 2025 [Bandcamp], Kalaveraztekah weaponizes its vision of death metal through the lens of pre-Hispanic culture and indigenous cosmology. There’s no sense that these Hidrocálidos are some kind of novelty act. They aren’t a Mexican Eluveitie, just playing Dark Tranquillity riffs while putting a Ritual Death Flute over it for 40 seconds in every song.5 Rather, Nikan Axkan is a muscular, seething, and deeply rooted record that radiates conviction from every grinding riff. The percussion rumbles like a procession of drums echoing through stone temples, fusing to a brutal core of death metal that just fucks. There’s a Blood Incantation-like spaciness that offers a counterbalance to all this brutality and adds unexpected depth. After spending the better part of a week in what my physician has called a “ritualistic fugue state,” I managed to pull myself out of the netherworld to write that when Kalaveraztekah’s two pillars—the atmospheric otherworldly and the brutal death metal—meet, “they crash into each other like storm fronts, creating something beautiful and terrible to behold. Nikan Axkan is simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate,” and it’s the Record o’ the Month.
Runner(s) Up:
…and Oceans // The Regeneration Itinerary [May 23rd, 2025 | Season of Mist | Bandcamp] — …and Oceans is having an Amorphisesque second act and I am here for it. They’ve always walked the line between symphonic grandiosity and black metal chaos, and with The Regeneration Itinerary, they’ve engineered their third very good platter in 5 years. The record combines sharp, Emperor-style riffing with theatrical synths, industrial flourishes, and ruthlessly precise pacing. “Demonstrating a degree of evolution in their craft” and with “exceptional [performances] across the board,” …and Oceans have once again hit that sweet balance—and ever-more unique sound in this current black metal soundscape—that makes their revitalization so welcome. But it’s not just that it’s a good continuation, I feel like they are continuing to refine and revitalize the launch with each new album they release. It’s always fun to watch bands defy Angry Metal Guy’s Law of Diminishing Recordings™, and while The Regeneration Itinerary isn’t their best record yet, 30 years after their debut, …and Oceans is still releasing vital music that’s impossible to overlook.
Jade // Mysteries of a Flowery Dream [May 9th, 2025 | Pulverised Records | Bandcamp] — Mysteries of a Flowery Dream is an atmospheric death metal record that unfolds like a guided hallucination. It’s melodic. It’s moody. It’s weirdly elegant. And it doesn’t care about my riffs-per-minute quota. It takes things slow and keeps them dreamy. Jade trades bludgeoning immediacy for textured dream-logic, and while it takes a few listens to understand what’s happening, once it clicks, it’s hard for listeners to shake. And yet, it balances out the problem that atmospheric records rarely feel heavy, because they’re too busy padding the sharp edges with “atmosphere.” But Mysteries of a Flowery Dream accomplishes its heaviness by feeling oppressive, dense, claustrophobic, and crushing—leaving the listener feeling like they’re in an experimental submarine on their way to see the Titanic.6 And while it’s not the easiest record to penetrate, Owlswald wants you to know that “those who actively immerse themselves in Jade’s expansive world will be handsomely rewarded. The excellent songwriting, replete with its cohesion, balance, and dynamism, is impressive, steadily shifting my initial apathetic impressions to genuine appreciation. So don your finest headphones, sit back, and let Jade immerse you in their dreamlike world.”
#AndOceans #2025 #AMGSUnsignedBandRodeo #Amorphis #DarkTranquillity #Eluveitie #Emperor #Independent #Jade #Kalaveraztekah #May25 #MysteriesOfAFloweryDream #NikanAxkan #RecordSOTheMonth #RecordsOfTheMonth #SelfReleases #TheRegenerationItinerary
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_
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AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer
Empyrean Sanctum // Detachment from Reality [April 18th, 2025]
El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0
Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0
Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0
Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0
#AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold
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AMG’s Unsigned Band Rodeö: Kalaveraztekah – Nikan Axkan
By Dolphin Whisperer
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
The Rodeö is full of surprises. Today’s potential riff trap hails from the arid lands of Aguascalientes, Mexico, known most famously for its array of hot springs and National Museum of Death. Yes, in death Kalaveraztekah revels, and not just in a death metal groove indebted to the jagged scrawl of Morbid Angel or the destructive howl of early Behemoth. With a healthy inclusion of pre-Hispanic, indigenous instrumentation alongside their chunky and pinch-addled drive, Nikan Axkan churns and tumbles through chants and thunderous drum roll to shine a light on the Mexica culture and history of sacrifice and spirit world. To excavate the wonders that the adventurous Kalaveraztekah holds hidden in the underground, we’ve assembled a crack Rodeö crew, including an appearance from The Man, The Myth, The AMG Himself. Surely that means that everyone followed the word count, right? – Dolphin Whisperer
Kalaveraztekah // Nikan Axkan [May 2nd, 2025]
AMG Himself: Kalaveraztekah’s Nikan Axkan represents hopes and dreams that I have harbored for years. When will we finally get the seminal piece of Aztec-influenced extreme metal that will whet my appetite for both death metal and Mesoamerican history?1 With aplomb, these astonishingly unsigned Aguascalientes-ites2 do the fine job of balancing two equally vital parts of a single sound. Kalaveraztekah hits like a ton of bricks, dealing in death metal that’s neither old nor school, it’s just brutal and grindy, tempered only by peyote-fueled excursions into the netherworld. The core of their sound is brutal Mexican death metal replete with blasts and machine gun kicks, neck-damaging riffing, pig-squealing guitars, brutal growls (and occasionally less-brutal screamies) synced with the snare, and an intensity that I associate with writing reviews of bands like Vomitory or Crypta. It’s got the riffs and intensity with just a touch of melody, and I bask in its brutality and shreddy, squealy solos. Kalaveraztekah’s particular innovation in this sphere is the successful inclusion of traditional folk elements from the indigenous people located throughout Mexico, but which is today used almost exclusively for the Mexica people of Tenochtitlan (which is modern-day Mexico City).3 Kalaveraztekah’s focus on “Aztec Cosmogony” lends itself perfectly to the second part of their unique sound: dreamy folk soundscapes that they adapt seamlessly—and convincingly—when they shift gear. Driven by reverb-soaked soundscapes, Spanish guitars,4 and what I assume is a tlapitzalli (flute), the band lends atmosphere and dynamics that are necessary to offset a style of death metal that at times can risk monotony. And when they meet, these two sounds crash into each other like storm fronts, creating something beautiful and terrible to behold, simultaneously brutal and thoughtful, grindy and melodic, atmospheric and immediate. I fuckin’ love this shit.
Next up on my befolkened death metal bucketlist: the Olmecs! 4.0/5.0
Dear Hollow: What’s great about Kalaveraztekah is their ability to channel their heritage into an homage to the Mexica that sounds ancient, cosmic, and brutal. Featuring a blend not unlike the formidable shaman-themed Hell:on, the lethal fusion of cutthroat death metal and folk instruments offers balance: wild guitar solos, haunting flutes, terrifying death whistles, and ritualistic drums shine amid the no-frills Sulphur Aeon-esque riffs. While similarities to other Mexico-based Aztec- or Mayan-themed groups are unavoidable, Pre-Hispanic folk instrumentation is not mere novelty like it is for Ocelotl or Eunoë, nor is it an atmospheric saturation of bloody sacrifice in the manner of Aztlan or Cemican – rather, Kalaveraztekah uses ritualistic and ceremonial elements to amplify the cyclical cosmic grandiosity of the Five Suns in an album of both creation and devastation. Nikan Axkan offers riffs galore (“Tlazolteotl,” “Xiuhtekuhtli Weweteotl”), haunting overtures with spoken word that recall sacrificial ecstasy and the vast rotting realms of the gods (“Yowaltecuhtli,” “Illwikatl Meztli”), and just enough techy flavors of soaring intensity and dissonant menace to warrant diversity and complexity (“Xolotl Axolotl,” “Xiuhmolpili”). While the album is a tad overlong at nearly fifty minutes, Kalaveraztekah’s approach straddles the line between violently visceral and gloriously colossal – truly “el amanecer del nuevo sol” indeed. 4.0/5.0
Iceberg: I love it when an album requires me to do some research to unwrap its mysteries. Before I came across Nikan Axlan I had precious little knowledge of Aztec mythology. But now, thanks to Aguascalientes natives Kalaveraztekah, I can confidently tell my Xolotls from my Axolotls. Kalaveraztekah’s sonic template skews more groove than death metal, but the inclusion of a host of traditional instruments keeps the music refreshing and thoroughly unnerving. The tribal drums and wind instruments maintain a constant otherworldly atmosphere, and the extraneous vocal additions are excellent (the frantic spoken word of “Yowaltekuhtli” and the Wilhelm screams of “Xolotl Axolotl”). Kalaveraztekah aren’t content to sit in any one corner with their instruments either. The trebly blues tone of “Yowaltekuhtli” feels ripped from a Los Lonely Boys album, and the sweeping neoclassical riff that forms the backbone of “Xiuhmolpilli” screams symphodeath BOMBAST.5 The biggest drawback for me here is that in leaning so far into the groove metal style, the BPM goes stale in its mid-paced swagger. Given everything else that Kalaveraztekah unleashes on Nikan Axkan, I’m left wondering what this band would sound like if they really stepped on the gas and hit that NOS button (although the opening riff of “Wewekyotl” gets pretty damn close). That quibble aside, Nikan Axkan is a compelling and replayable record, and a great trip into the dark, bizarre world of Aztec mythology. I highly recommend this album for those looking for some tasty groove metal with a bit of strange on the side. 3.5/5.0
Alekhines Gun: Move over Tzompantli, there’s a new band in town. Channeling the instrumental flourishes of Nechochwen filtered through something adjacent to The Zenith Passage in production,6 Kalaveraztekah have presented a slab of agave scented folky melodic death so meticulously constructed and well produced that I’m actually stunned it’s an independent release. From the triumphant flourishes dotting the leads in “Yowaltekuhtli” to the thunderous tribal percussion-laced breakdowns in “Xiuhtekuhtli Weweteotl”, Nikan Axkan never wants for a variety of gripping moments. A sense of propulsion flows through the album, rendering the occasional interludes atmospheric rather than momentum-killing. Songs like “Xolotl Axolotl” feature heaps of skronk and tawngy tech only to instantly be offset by indigenous instruments and melodic atmospherics in equal measure. True, each individual track feels a bit long in the tooth and seem as though they could benefit from some editing, and I wish the bottom end didn’t sound so artificial. Nevertheless, every time I found myself thinking such thoughts I was suddenly blown away by some excellent new riff or lovely melody from wood instruments or percussion, slotting neatly into the album’s reasonable runtime. Nikan Axhan is an album with a remarkably matured and well-executed vision, and has been a gripping, engaging listen with each spin. Support this album. 3.5/5.0
Thyme: Most bands continually seek ways to bring originality into their work. For Aguascalientes, Mexico, five-piece death metal outfit Kalaveraztekah, that originality comes in the form of heaving helpings of Mesoamerican folk instrumentation, expertly woven into the deathly fabric of their sophomore album Nikan Azkan. Right off the bat, I felt transported to the middle of a Mexican rainforest as tribal drums and folkish guitar lines cede their delicate grip to Behemoth-like death riffs and a hellish vocal attack that rivals Nergal’s (“Nikan Axkan (El Aquí y El Ahora)”). When Nikan Azkan isn’t channeling Demigod levels of viciousness, its hybrid form of folk death conjures Roots-era Sepultura with sludgily dirty riffs, primitive death chants, and a plethora of indigenous instruments ranging from ocarinas to Aztec death whistles (“Xiuhtekuhtli Weweteotl (El Fuego Ancestral),” “Wewekoyotl (El Coyote Viejo)”). Kalaveraztekah brings loads of atmosphere to Nikan Axkan, especially on “Yowaltekuhtli (Un Sueño En La Oscuridad),” with its haunting instrumentation—the guitar work is top notch here—and the desperate, breathless pleas of the narrator conjuring tons of dramatic tension. On repeated spins, the magic within Nikan Axkan continues to unravel. While the meshing of Kalaveraztekah‘s death metal—standard as it may be—with its folk-forward instrumentation tends to blur tracks together, enjoyment didn’t dissipate the more I listened. Fans of what Tzompantli are doing would be hard-pressed to miss this, and I suggest they don’t. 3.0/5.0
Show 6 footnotes
- Tzompantli doesn’t count ’cause they’re from California and they’re only “good.” ↩
- I believe we call them Aguascalentenses. – Dolph ↩
- Interesting to note that the band is from Aguascalientes, because the region was, in fact, the home of the Chichimeca groups, which, according to my deep research (yup, doin’ my own research just like RFK Jr. told me to!) became a kind of archetype of “noble savages” for both the Spaniards and the Mexica (Aztecs) in the 1500s. Rather than being a single group with a shared language, the Chichimeca groups were spread throughout central Mexico, and following the discovery of silver, they were war-crimed into a decades-long conflict and eventual decline, and by the beginning of the 1600s, they “disappeared as distinguishable cultural entities” (Schmal, 2019). Seven tribes would be the basis of a mighty seven-album conceptual cycle, my dudes. I’m just sayin’. ↩
- Is that ironic? ↩
- It really makes you wonder how far is heaven. – Dolph ↩
- Surely, scooped tone production existed before The Zenith Passage. – Dolph ↩
#AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #Aztec #Behemoth #Crypta #DeathMetal #FolkMetal #GrooveMetal #HellOn #IndependentRelease #Kalaveraztekah #LosLonelyBoys #May25 #MexicanMetal #MorbidAngel #Nechochwen #NikanAxkan #ProgressiveDeathMetal #Review #Reviews #SelfRelease #Sepultura #SulphurAeon #Tzompantli #Vomitory
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025Show 3 footnotes
- Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
- DiGiorgio has been known to rock a 3-string bass too! ↩
- Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩
#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dear Hollow
It’s hard to keep up with Swans. Since 1982, Michael Gira and company have cranked out sixteen studio albums, eight EPs, and ten live albums (not to mention all the compilations and side projects), influencing underground stalwarts like Godspeed You! Black Emperor, Neurosis, Godflesh, and Napalm Death, as well as more mainstream acts like Nirvana and Tool. No genre was safe, as noise rock, no-wave, industrial, sludge, post-punk, and post-rock were impacted in the process – yet Swans have always had their own inimitable and uncategorizable sound. In Gira’s words, “Swans are majestic, beautiful-looking creatures – with really ugly temperaments.” Seventeenth studio album Birthing, a supposed end to the big sound of Gira’s millennial reformation, is an affirmation of both why some love them and why others stay far away. Maybe the real Swans were the friends we made along the way.
The path of Swans has been one of blending ugliness with a sheen of pristineness. They’ve had it all, from the ugly industrial sludge of Filth and Cop, the more regal industrial noise rock of Greed and Holy Money, the Gothic rock groovers of Children of God, the lush starkness of White Light from the Mouth of Infinity, the post-rock-imbued apocalyptic prophecies of The Great Annihilator and Soundtracks for the Blind, the trancelike 2010s comeback My Father Will Guide Me Up a Rope to the Sky, the formidably monolithic trilogy The Seer, To Be Kind, and The Glowing Man, to the minimalist folk-embedded Leaving Meaning and The Beggar. If you wanted to devote a week to the Swans discography, have at it. Or get into the process of Birthing.
In spite of its higher focus on more acoustic textures and Michael Gira’s wild baritone, Swans’ use of repetition is a tether to which their grasp of reality is consistently mutilated, interspersed with moments of sparse accessibility. Seven tracks and nearly two hours of content greet the ears with repetition both nauseating and hypnotic, tracks undeniably modern-era Swans: folkier, more acoustic and organic, and retaining that trademark longwindedness and industrial/noise barb, shifting from mood to mood with ease. You’ll hear painful dissonance, ritualistic passages of pounding percussion, Gira’s unnerving vocal lines, and synth-heavy crystalline atmosphere exchanged across mammoth runtimes. Especially in the first act, ugly stretches stitch together more uncanny valley passages of accessibility, like a synth rock jam session with pulsing basslines (“I Am a Tower”), beautiful piano ballads graced by spidery melodies and Jennifer Gira’s haunting vocals (“Birthing,” “Guardian Spirit”), catchy little choral “bum bums” (“The Merge”), and instrumental ambient swells (“The Healers,” “(Rope) Away”).
Gira and company find themselves in an odd predicament: in the shadow of their own influence. Swans has smartly focused on more acoustic and organic textures with their most recent releases, but in comparison to the 80’s and 90’s, and even the 2010s, Birthing cannot hold a candle. No one can do music like Swans, but it feels as though the trilogy of The Seer, To Be Kind, and The Glowing Man was Tsar Bomba, and every subsequent release has been the fallout. Likewise, the raining ash of Birthing is lethal, unnerving, and undeniably Swans, but it doesn’t feel as monumental. The only track that feels crucial is the absolute fever-dream “The Merge” in its wholehearted dive into the abyss. Each track features Swans-isms that sear themselves into your brain if you let them, but therein, very few moments justify why you should devote two hours to listening to them – especially if you are not a fan to begin with. Their focus has never been to be catchy, impress with riffs, or go wild with novelty – as such, the trademark tapestries of droning dissonance (“I Am a Tower,” “Guardian Spirit”), free jazz/industrial noise explosions (“The Merge”) are just difficult – aside from Swans’ inability to edit.
I may be Swans lone apologist at AMG HQ, and maybe I’m insane for it. Birthing is nowhere near the influence of its predecessors – while retaining that noise and industrial sneer throughout, it’s a far more gentle album than the ugly classics of the band’s heyday. However, it’s probably the best of its era, blending its bad temperament with its more post-rock atmospheres and semi-accessible passages that keep listeners this close to insanity. That being said, it’s still Swans. And a whole lot of Swans. Two hours of Swans. Yay/ugh.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Young God Records
Websites: swans.bandcamp.com | facebook.com/SwansOfficial
Releases Worldwide: May 30th, 2025#2025 #35 #Ambient #AmericanMetal #Birthing #Experimental #ExperimentalAmbient #FreeJazz #Godflesh #GodspeedYouBlackEmperor #Industrial #May25 #NapalmDeath #Neurosis #Nirvana #NoWave #Noise #NoiseRock #NonMetal #PostRock #postPunk #Review #Reviews #SludgeMetal #Swans #Tool #YoungGodRecords
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Amazing event in #Philadelphia on #MAY25!
“Veterans for the Constitution”
So inspired by the #veterans & spouses uniting at Independence Hall to re-swear to the #Constitution!
Thank you to Capt. Cutler & the Chaplain for leading this powerful moment.
Grateful for all who came together to honor our shared values.
#RestateOath #ConstitionalOath #DefendTheConsititution #NoKings
#MAY25 #JUNE6 #JUNE14 #50501movement -
@jay_peper
I love this very much. He'll always know where his towel is. -
For the May25 event in Philadelphia,
"Reinstate Oath to the Constitution" is now transitioning to an online pledge format.
We invite you to submit a video or photo of your pledge from any location.
Your submission will help raise awareness, inspire others, and spread our message far and wide.
Your participation is essential to advancing this important cause.
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No crowns, no masters—only the Constitution we swear to uphold!
May 25, June 6, June 14, we rise TOGETHER to defend it!
UnitedStronger—let’s show them the power of a people who won’t kneel!
#ConstitionalOath #DefendTheConsititution #NoKings
#RestateOath #MAY25 #JUNE6 #JUNE14 #50501movement -
By Dr. A.N. Grier
Thanks to the ever flippery Dolph, I am blessed to have the Sexmag in my life. And you will be too. Regardless of whether you hide them away under your bed or display them in the guest bathroom, the sex mag is back to being a staple in all homes. If it’s classy or filthy smut is up to the beholder, just as long as your children don’t find them. While Poland’s Sexmag and new album, Sexorcyzm, sound like a new addition to the Lordi sump of “metal,” they’re far from it. Tagged as a death-thrash outfit, this little foursome is surprisingly fun and versatile for what they do. I’d go even further than these two genres and pin old-school 80s heavy and hints of black metal to their influences, which adds a beautiful depth and uniqueness to their sound that I haven’t heard in some time. I mean, it’s still as slimy as Midnight, but there is much fun on Sexmag’s debut album. Buckle up, fuckers, we’re about to get sexy.
Formed around stalwarts of the Polish underground metal scene, Sexmag appears to have a newcomer to the metal world in the form of vocalist Jacek “Truposz” Wojno. Having never heard his voice before, his odd vocals provide the right amount of support for the band’s songwriting style. In combination with drummer/vocalist Lord Violator, you’ll find everything from low-to-high register rasps, death growls, falsetto screams, and that odd, clean vocal approach that brings to mind Fenriz’s vocal contributions to recent Darkthrone releases. In the same vein of varying vocal approaches, you’ll find old-school death marches, Slayer-esque thrash moments, and impressive guitar leads and solos that reincarnate the spirit of Mercyful Fate. And to top it off, this eight-track, forty-minute debut sees track runtimes ranging from two minutes to seven.
The appropriately (and ridiculously titled) opener, “Intro (Total Metal),” gets things rolling with an instrumental piece that could have worked well on King Diamond’s Conspiracy album. It does a nice job setting the mood for the upcoming tracks, matching the sinister tone of Sexorcyzm before erupting into “Inkubus.” This track showcases an old-school speed lick that morphs into an 80s-inspired death groove. But, like all the tracks on the album, there is never a dull moment in the riff department. As the song progresses, the two vocalists introduce every vocal style they can dish out with the guitars mindfuck you into oblivion. I particularly like this song because it sounds like the band struggles to match the pace between guitars and drums. But that’s a facade once it gets rolling, and the band’s performances throughout are impressive as hell.
While the front half is good, the album’s back half is great. Specifically, the back-to-back-to-back “Sex z diabłem,” “Córy Koryntu,” and “Psalm I – Intronizacja Szatana.” Like the opener, “Sex z diabłem” begins with some eerie synths before unleashing one of the most badass death chugs on the album. Then, as expected, this seven-minute ditty tears through riff after killer riff, providing moments of old-school Slayer before making a U-turn into an 80s heavy metal plod. It also sports the most solos I’ve heard in a single song in a long time. “Córy Koryntu,” on the other hand, is a slimy, mucky Autopsy-inspired cesspool that eventually escapes the mud in favor of pounding drums and clinical riff mastery. “Psalm I – Intronizacja Szatana” is perhaps the favorite here, opening with clean guitars that bring to mind the intro to Mercyful Fate’s “Into the Coven.” Then, it takes a wild turn for the remainder of the song, bringing to life Blood Fire Death Bathoryisms that could have worked as a bonus track to any of Bathory’s Viking era albums.
While the vocal diversity can be outlandish at times, and songs like “Smród palonych dusz” don’t hold up to the others, Sexorcyzm is a hell of a good time and a smart debut record. Coming into this release, I was dead set on dropping a dozen cheeky sex jokes, but Sexorcyzm is too much fun for even Grier to masturbate all over. Take all the impressive skill and well-crafted structure, then add a dynamic DR9 master to it, and you have an orgy that even the strictest Mormon mother can enjoy. I’m not sure what’s to come for these Polish bastards, but if our new pope continues to support the Sexorcyzm, I’m fully on board.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions | Bandcamp
Websites: Too kvlt for this shit
Releases Worldwide: May 23rd, 2025#2025 #35 #Autopsy #Bathory #BlackMetal #Darkthrone #DeathMetal #DyingVictimsProductions #HeavyMetal #KingDiamond #Lordi #May25 #MercyfulFate #Midnight #PolishMetal #Review #Reviews #Sexmag #Sexorcyzm #Slayer #ThrashMetal
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Reinstate Oath to the Constitution
Date: Sunday, May 25, 2025
Time: 12:00 Noon
Location: Independence Hall, Philadelphia
This is our moment — to stand where liberty began and renew the oath we never broke.
Join us.
Sworn to the People, Sworn to the Constitution.
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This is #Corporatism writ large. Unwanted detractors are kept out of the decision making process. Crickey owner, a shareholder, was barred from the shareholders meeting while other sympathetic journos (non-shareholders) were invited in. This is the dark side of Australia and an indication of the power these corporations exert on the markets. Deregulated markets and neolberalism is what got us here. It's up to us to roll this back with better regulations via the ballot box on #May25
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Ran the updated numbers. #may25 #kansasing
RE: https://bsky.app/profile/did:plc:izhfbj6pve3oskf3pbz6b3vr/post/3ktdjcww6tk24 -
And in honor of the People's Revolution... #discworld #may25 #lilac
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It's the 25th of May again..
#GDPR Day (General Data Protection Regulation, #DSGVO DatenSchutzGrundVerOrdnung)
The Glorious 25th of May, Terry Pratchett's #Discworld
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@techcrunch.com #Boeing, #NASA indefinitely delay crewed #Starliner launch 🚀
https://techcrunch.com/2024/05/22/boeing-nasa-indefinitely-delay-crewed-starliner-launch/
Going going gone #May25 kaputt 🤷🏽
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May-25:
* GDPR Day
* Geek Pride Day
* The Glorious 25th of May
* Towel Day -
In 1969, Norwegian adventurer Thor Heyerdahl and his crew set sail in a reed boat named Ra in an attempt to prove that ancient Egyptians could have sailed to America.
10 weird and wonderful things that happened on 25 May:
https://topicaltens.blogspot.com/2022/05/25-may.html
#ThisDayInHistory #onthisday #OnThisDate #OTD #Today #25May #May25
