#monolord — Public Fediverse posts

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal

Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal

Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal

Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#swedishmetal #stonermetal #stonerdoommetal #stonerdoom #sleep #skogskult

Angry Metal Guy @[email protected] · 2025-12-04 · 12:00 UTC

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#acidking #blacksabbath #bonebagrecords #cultofluna #dec25 #doommetal

Fuck Your Social Media @[email protected] · 2025-12-02 · 19:04 UTC

MONOLORD ANNOUNCE FIRST U.S. TOUR SINCE 2022

#dates #doom #monolord #tour

Fuck Your Social Media @[email protected] · 2025-12-02 · 19:04 UTC

MONOLORD ANNOUNCE FIRST U.S. TOUR SINCE 2022

#dates #doom #monolord #tour

Fuck Your Social Media @[email protected] · 2025-12-02 · 19:04 UTC

MONOLORD ANNOUNCE FIRST U.S. TOUR SINCE 2022

#dates #doom #monolord #tour

Canada News Beep @[email protected] · 2025-11-26 · 03:40 UTC

Pale Horse Ritual – Diabolic Formation Review

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days…
#NewsBeep #News #Music #2.5 #2025 #BlackSabbath #BlackThroneProductions #CA #Canada #CanadianMetal #DiabolicFormation #DoomMetal #Entertainment #IronButterfly #Metallica #Monolord #NickDrake #Nov25 #PaleHorseRitual #ProtoMetal #psychedelicrock #review #reviews #Slayer #StonerMetal #ThePaleHorses
https://www.newsbeep.com/ca/307291/

#thepalehorses #stonermetal #slayer #reviews #review #psychedelicrock

Angry Metal Guy @[email protected] · 2025-11-25 · 20:50 UTC

#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses

By Creeping Ivy

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.

Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.

Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.

Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.

Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025

#blacksabbath #blackthroneproductions #canadianmetal #diabolicformation #doommetal #ironbutterfly

Angry Metal Guy @[email protected] · 2025-11-25 · 20:50 UTC

#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses

By Creeping Ivy

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.

Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.

Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.

Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.

Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025

#blacksabbath #blackthroneproductions #canadianmetal #diabolicformation #doommetal #ironbutterfly

Angry Metal Guy @[email protected] · 2025-11-25 · 20:50 UTC

#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses

By Creeping Ivy

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.

Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.

Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.

Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.

Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025

#blacksabbath #blackthroneproductions #canadianmetal #diabolicformation #doommetal #ironbutterfly

Angry Metal Guy @[email protected] · 2025-11-25 · 20:50 UTC

#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses

By Creeping Ivy

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.

Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.

Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.

Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.

Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025

#thepalehorses #stonermetal #slayer #reviews #review #psychedelicrock

Angry Metal Guy @[email protected] · 2025-11-25 · 20:50 UTC

#25 #2025 #blackSabbath #blackThroneProductions #canadianMetal #diabolicFormation #doomMetal #ironButterfly #metallica #monolord #nickDrake #nov25 #paleHorseRitual #protoMetal #psychedelicRock #review #reviews #slayer #stonerMetal #thePaleHorses

By Creeping Ivy

2025 must have been a challenging year to occupy the Sabbath-worship lane. Ozzy’s passing on July 22nd—seventeen days after the Back to the Beginning concert—hit metaldom hard, but it surely hit harder for bands that treat Master of Reality as a sacred text. Videos from the concert, especially of a throned Ozzy performing one last time with the original Sabbath lineup, provide solace, as do covers from legends like Metallica and Slayer.1 Tragically, 2025 has revitalized Sabbath; Sabbath-inspired bands walk a tightrope of honoring the original and wilting under its renascence. Merging into the Sabbath lane late in the year is Pale Horse Ritual, a Canadian quartet. After releasing a slew of singles and an EP in 2024, this Hamilton, Ontario band has dropped their debut full-length, Diabolic Formation.2 While it doesn’t need to break much new ground, the album does need to aid the grieving process.

Pale Horse Ritual offers a bit more than straight Sabbath worship. While Diabolic Formation primarily deals in stoner/doom metal, much of its instrumentation hearkens to 70s psychedelic rock. Lead guitarist James Matheson, for example, lays down some total psych freakout solos (“Deflowered,” “Bloody Demon”). Spooky organ chords also contribute to the album’s vintage atmosphere (“D.E.D,” “A Beautiful End”). Together, these elements evoke Iron Butterfly and other such proto-metal acts. Nevertheless, Pale Horse Ritual ground their sound in pure Iommian goodness. Instrumental opener “Deflowered” announces Diabolic Formation’s riff-forward orientation, built around modulations of a simple yet satisfying flat-2 line. The descending chromatic figure of closer “A Beautiful End” is an album highlight, dragging listeners down to a warm, fuzzy hell. Similar to a contemporary band like Monolord, Pale Horse Ritual unabashedly revels in the undeniable power of a familiar riff.

Alas, Diabolic Formation feels familiar to the point where one-to-one comparisons can frequently be made. “Wickedness,” the first real ‘song’ on the album, provides the earliest instance of Sabbath aping. Its verse riff and accompanying vocal melody exactly replicate the first half of the “Iron Man” hook. The lyrics are also imitative; though not a direct lift, the narrator imploring his audience to ‘Call [him] Lucifer’ echoes “N.I.B.” Less overtly mimetic is “Bloody Demon.” Its main riff brings “Electric Funeral” to mind, and lyrics about the ‘prince of darkness’ and watchful ‘snake eyes’ summon Ozzy and Lemmy. Beyond Sabbath, Pale Horse Ritual comes close to sampling Iron Butterfly in “D.E.D.,” which recalls the iconic “In-A-Gadda-Da-Vida” phrase. Unfortunately, Diabolic Formation invites listeners to hunt for references.

Pale Horse Ritual do break from their Sabbathy mould in intriguing ways. Vocalist/bassist Paco is not Ozzy; he possesses more of a chill, mid-range croon. Paco effortlessly delivers catchy choruses, heightened by harmonies from rhythm guitarist Will Adams (“Wickedness,” “D.E.D.”). But he very much is Geezer; Paco’s fills and wah-wah stomps naturally play off Jonah Santa-Barbara’s drumming, putting these grooves into the Butler-Ward pocket (“Deflowered,” “Wickedness”). The biggest curveball on Diabolic Formation, however, is “Save You,” the mid-album acoustic break. Its delicate fingerpicking, ghostly whispers, and dreamy synths conjure a surprising artist from the 70s: Nick Drake. The on-the-nose, anti-religion lyrics draw attention away from the suppleness of Paco’s voice and Adams’s guitarwork. Nevertheless, it’s a beautiful track showcasing a side of their sound I wish Pale Horse Ritual explored further.

Diabolic Formation flourishes and flounders due to its familiarity. Even in a subgenre rooted in remembrance, there are too many direct echoes of Sabbath, Iron Butterfly, and the like here. Listeners might feel paranoid that every riff and chorus is plagiarized. And yet, Diabolic Formation is a good sounding record, with cozy tones and comforting atmosphere. If 2025 left you reeling from the loss of Ozzy, then Diabolic Formation is worth 39 minutes of your time. As a new purveyor of an old sound, Pale Horse Ritual can help you adjust to a new normal.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Black Throne Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 28th, 2025

#blacksabbath #blackthroneproductions #canadianmetal #diabolicformation #doommetal #ironbutterfly

Australia News Beep @[email protected] · 2025-09-29 · 15:20 UTC

Warcoe – Upon Tall Thrones Review

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal,…
#NewsBeep #News #Music #2.5 #2025 #AU #Australia #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #Entertainment #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #review #reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop
https://www.newsbeep.com/au/177792/

#zztop #wraithknight #windhand #warcoe #upontallthrones #thesword

Canada News Beep @[email protected] · 2025-09-29 · 15:00 UTC

Warcoe – Upon Tall Thrones Review

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal,…
#NewsBeep #News #Music #2.5 #2025 #BlackSabbath #CA #Canada #CreedenceClearwaterRevival #DoomMetal #Entertainment #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #review #reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop
https://www.newsbeep.com/ca/177900/

#zztop #wraithknight #windhand #warcoe #upontallthrones #thesword

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#blacksabbath #creedenceclearwaterrevival #doommetal #italianmetal #kadaver #monolord

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#blacksabbath #creedenceclearwaterrevival #doommetal #italianmetal #kadaver #monolord

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#blacksabbath #creedenceclearwaterrevival #doommetal #italianmetal #kadaver #monolord

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#zztop #wraithknight #windhand #warcoe #upontallthrones #thesword

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#blacksabbath #creedenceclearwaterrevival #doommetal #italianmetal #kadaver #monolord

Torchmantis @[email protected] · 2025-07-25 · 07:09 UTC

"Weary Beyond The Standards" (Monolord X Dosem Remix) ~ DJ Torchmantis #monolord #dosem #torchmantis

#monolord #dosem #torchmantis

Torchmantis @[email protected] · 2025-06-07 · 07:49 UTC

"Stayin Home Like Dis" (#monolord x #lukealexander remix) - DJ #Torchmantis

#monolord #lukealexander #torchmantis

festivalplaylist.com @[email protected] · 2025-01-29 · 08:42 UTC

New Artist announced for Brutal Assault 2025

Monolord

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Monolord #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#brutal_assault_2025 #monolord #fyre_festivals #livemusic #youtube #music

festivalplaylist.com @[email protected] · 2025-01-29 · 08:42 UTC

New Artist announced for Brutal Assault 2025

Monolord

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Monolord #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#brutal_assault_2025 #monolord #fyre_festivals #livemusic #youtube #music

festivalplaylist.com @[email protected] · 2025-01-29 · 08:42 UTC

New Artist announced for Brutal Assault 2025

Monolord

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Monolord #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#brutal_assault_2025 #monolord #fyre_festivals #livemusic #youtube #music

festivalplaylist.com @[email protected] · 2025-01-29 · 08:42 UTC

New Artist announced for Brutal Assault 2025

Monolord

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Monolord #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#musicfestivals #music #youtube #livemusic #fyre_festivals #monolord

festivalplaylist.com @[email protected] · 2025-01-29 · 08:42 UTC

New Artist announced for Brutal Assault 2025

Monolord

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Monolord #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

#brutal_assault_2025 #monolord #fyre_festivals #livemusic #youtube #music

Angry Metal Guy @[email protected] · 2025-01-22 · 21:02 UTC

#2025 #30 #Adaestuo #DeathMetal #DoomMetal #Incantation #Monolord #Onirophagus #PersonalRecords #RevelationsFromTheVoid #Review #Reviews #SpanishMetal

By Alekhines Gun

2025 has gotten off to a picturesque start. It seems like half my country caught fire, and in the half I dwell in, I woke up to discover my car covered in a pile of icy slush for literally the first time in my life. Such dichotomous, if not ominous, happenings to kick off the review year have me reaching out for appropriate background music, and the fusion of death/doom has answered the call. Hailing from Spain, Onirophagus are one of a legion of bands who were gaining some traction before the Great Tour Cease of the early 20’s. Some lineup shuffling and dedicated writing later, they’ve returned with Revelations From the Void, sporting some fantastic artwork and a soundtrack to kick off the year in a depressive, destructive style.

Much like the multi-eyed creature adorning the cover, Revelations From the Void sounds layered, expansive, and intimidating. The drumming of Uretra sounds fantastic, laced with reverb that gives the crunching riffs an open, arena-rock vastness even as the guitars attempt to crush with extreme prejudice. Guitarists Moregod and Obzen drop weaving, interlacing leads over grooving blows and slow dirges that erupt into pit-combusting speeds (“Landsickness”) without ever sounding forced or awkward in transition. Most songs treat riffing as a one-and-done concept, evolving and unfolding as they progress. As a result, Onirophagus have mastered the art of seamlessly switching between requisite plods and sudden head-shattering blasts without awkward pauses or the crutch of amateurish feedback buildup, ensuring each song possesses strength of character and personality.

Onirophagus aren’t content to merely weave apocalyptic signals of destruction in their sound. The doomier passages allow for very emotive, somber expressions. The spirit of Monolord (particularly their excellent No Comfort) is spread throughout the slower passages, giving moodier and far more human flourishes to what would otherwise be tar-drenched riffs. “Hollow Valley” masterfully weaves mournful melodies under harmonized leads, allowing for peaceful introspection before catching you with a baseball bat from behind to ruin (or improve) your well-being. The fiercer moments unsurprisingly chant the Incantation but sound far more filled with blood and vinegar. Vocalist Paingrinder in particular does a fantastic John McEntee impression, spewing a stomach-gurgling growl and tortured shouts which sound like they crawled from the bottom of ye olde abandoned well.

Revelations From the Void is at its best when it experiments. A few riffs are ridden far too long, particularly in “Black Brew”, which takes a nonsensical amount of time to build up to an unexpected and welcome violin abuse by way of Adaestuo. On the rare occasion Onirophagus do choose to repeat sections, not every obligatory chug-a-thon hits with the same impact, particularly in “Landsickness.” Sporadic flourishes with bells, background choirs, and even excellently placed spoken word pepper the album. Closing track and easy album best “Stargazing into the Void” pulls out all the stops with masterfully paced build, a double violin solo and a vaguely triumphant, uplifting ending, a glimmer of light in an eldritch-laced view of space. Falling into a few genre trappings of prolonged riffing and unequal impact do little to dent the mood presented to us through the album, and this concluding destination is worth the journey.

The year begins in uncertainty and disaster, and as always, metal is here to answer the call. I am pleasantly surprised by the quality found in Revelations From the Void, particularly for a sub-genre that isn’t generally predisposed to experimentation and evolution. An album of much less literary songs of ice and fire, the pairing of dark filth with excellent emotive expression have made for a thematic, artsy beginning to the adventures in store for 2025. Hopefully, Onirophagus continue to spread their artistic wings further and push the limits on what can be done in the death/doom wheelhouse. For now, lovers of the sound should dive in, and if the genre styling tends to leave you cold, give it a chance. You never know what Revelations are waiting for you at the end of the road.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: onirophagus.bandcamp.com/album/revelations-from-the-void-3 | Facebook.com/Onirophagus
Releases Worldwide: January 17th, 2025

#adaestuo #deathmetal #doommetal #incantation #monolord #onirophagus

Angry Metal Guy @[email protected] · 2025-01-22 · 21:02 UTC

#2025 #30 #Adaestuo #DeathMetal #DoomMetal #Incantation #Monolord #Onirophagus #PersonalRecords #RevelationsFromTheVoid #Review #Reviews #SpanishMetal

By Alekhines Gun

2025 has gotten off to a picturesque start. It seems like half my country caught fire, and in the half I dwell in, I woke up to discover my car covered in a pile of icy slush for literally the first time in my life. Such dichotomous, if not ominous, happenings to kick off the review year have me reaching out for appropriate background music, and the fusion of death/doom has answered the call. Hailing from Spain, Onirophagus are one of a legion of bands who were gaining some traction before the Great Tour Cease of the early 20’s. Some lineup shuffling and dedicated writing later, they’ve returned with Revelations From the Void, sporting some fantastic artwork and a soundtrack to kick off the year in a depressive, destructive style.

Much like the multi-eyed creature adorning the cover, Revelations From the Void sounds layered, expansive, and intimidating. The drumming of Uretra sounds fantastic, laced with reverb that gives the crunching riffs an open, arena-rock vastness even as the guitars attempt to crush with extreme prejudice. Guitarists Moregod and Obzen drop weaving, interlacing leads over grooving blows and slow dirges that erupt into pit-combusting speeds (“Landsickness”) without ever sounding forced or awkward in transition. Most songs treat riffing as a one-and-done concept, evolving and unfolding as they progress. As a result, Onirophagus have mastered the art of seamlessly switching between requisite plods and sudden head-shattering blasts without awkward pauses or the crutch of amateurish feedback buildup, ensuring each song possesses strength of character and personality.

Onirophagus aren’t content to merely weave apocalyptic signals of destruction in their sound. The doomier passages allow for very emotive, somber expressions. The spirit of Monolord (particularly their excellent No Comfort) is spread throughout the slower passages, giving moodier and far more human flourishes to what would otherwise be tar-drenched riffs. “Hollow Valley” masterfully weaves mournful melodies under harmonized leads, allowing for peaceful introspection before catching you with a baseball bat from behind to ruin (or improve) your well-being. The fiercer moments unsurprisingly chant the Incantation but sound far more filled with blood and vinegar. Vocalist Paingrinder in particular does a fantastic John McEntee impression, spewing a stomach-gurgling growl and tortured shouts which sound like they crawled from the bottom of ye olde abandoned well.

Revelations From the Void is at its best when it experiments. A few riffs are ridden far too long, particularly in “Black Brew”, which takes a nonsensical amount of time to build up to an unexpected and welcome violin abuse by way of Adaestuo. On the rare occasion Onirophagus do choose to repeat sections, not every obligatory chug-a-thon hits with the same impact, particularly in “Landsickness.” Sporadic flourishes with bells, background choirs, and even excellently placed spoken word pepper the album. Closing track and easy album best “Stargazing into the Void” pulls out all the stops with masterfully paced build, a double violin solo and a vaguely triumphant, uplifting ending, a glimmer of light in an eldritch-laced view of space. Falling into a few genre trappings of prolonged riffing and unequal impact do little to dent the mood presented to us through the album, and this concluding destination is worth the journey.

The year begins in uncertainty and disaster, and as always, metal is here to answer the call. I am pleasantly surprised by the quality found in Revelations From the Void, particularly for a sub-genre that isn’t generally predisposed to experimentation and evolution. An album of much less literary songs of ice and fire, the pairing of dark filth with excellent emotive expression have made for a thematic, artsy beginning to the adventures in store for 2025. Hopefully, Onirophagus continue to spread their artistic wings further and push the limits on what can be done in the death/doom wheelhouse. For now, lovers of the sound should dive in, and if the genre styling tends to leave you cold, give it a chance. You never know what Revelations are waiting for you at the end of the road.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: onirophagus.bandcamp.com/album/revelations-from-the-void-3 | Facebook.com/Onirophagus
Releases Worldwide: January 17th, 2025

#adaestuo #deathmetal #doommetal #incantation #monolord #onirophagus

Angry Metal Guy @[email protected] · 2025-01-22 · 21:02 UTC

#2025 #30 #Adaestuo #DeathMetal #DoomMetal #Incantation #Monolord #Onirophagus #PersonalRecords #RevelationsFromTheVoid #Review #Reviews #SpanishMetal

By Alekhines Gun

2025 has gotten off to a picturesque start. It seems like half my country caught fire, and in the half I dwell in, I woke up to discover my car covered in a pile of icy slush for literally the first time in my life. Such dichotomous, if not ominous, happenings to kick off the review year have me reaching out for appropriate background music, and the fusion of death/doom has answered the call. Hailing from Spain, Onirophagus are one of a legion of bands who were gaining some traction before the Great Tour Cease of the early 20’s. Some lineup shuffling and dedicated writing later, they’ve returned with Revelations From the Void, sporting some fantastic artwork and a soundtrack to kick off the year in a depressive, destructive style.

Much like the multi-eyed creature adorning the cover, Revelations From the Void sounds layered, expansive, and intimidating. The drumming of Uretra sounds fantastic, laced with reverb that gives the crunching riffs an open, arena-rock vastness even as the guitars attempt to crush with extreme prejudice. Guitarists Moregod and Obzen drop weaving, interlacing leads over grooving blows and slow dirges that erupt into pit-combusting speeds (“Landsickness”) without ever sounding forced or awkward in transition. Most songs treat riffing as a one-and-done concept, evolving and unfolding as they progress. As a result, Onirophagus have mastered the art of seamlessly switching between requisite plods and sudden head-shattering blasts without awkward pauses or the crutch of amateurish feedback buildup, ensuring each song possesses strength of character and personality.

Onirophagus aren’t content to merely weave apocalyptic signals of destruction in their sound. The doomier passages allow for very emotive, somber expressions. The spirit of Monolord (particularly their excellent No Comfort) is spread throughout the slower passages, giving moodier and far more human flourishes to what would otherwise be tar-drenched riffs. “Hollow Valley” masterfully weaves mournful melodies under harmonized leads, allowing for peaceful introspection before catching you with a baseball bat from behind to ruin (or improve) your well-being. The fiercer moments unsurprisingly chant the Incantation but sound far more filled with blood and vinegar. Vocalist Paingrinder in particular does a fantastic John McEntee impression, spewing a stomach-gurgling growl and tortured shouts which sound like they crawled from the bottom of ye olde abandoned well.

Revelations From the Void is at its best when it experiments. A few riffs are ridden far too long, particularly in “Black Brew”, which takes a nonsensical amount of time to build up to an unexpected and welcome violin abuse by way of Adaestuo. On the rare occasion Onirophagus do choose to repeat sections, not every obligatory chug-a-thon hits with the same impact, particularly in “Landsickness.” Sporadic flourishes with bells, background choirs, and even excellently placed spoken word pepper the album. Closing track and easy album best “Stargazing into the Void” pulls out all the stops with masterfully paced build, a double violin solo and a vaguely triumphant, uplifting ending, a glimmer of light in an eldritch-laced view of space. Falling into a few genre trappings of prolonged riffing and unequal impact do little to dent the mood presented to us through the album, and this concluding destination is worth the journey.

The year begins in uncertainty and disaster, and as always, metal is here to answer the call. I am pleasantly surprised by the quality found in Revelations From the Void, particularly for a sub-genre that isn’t generally predisposed to experimentation and evolution. An album of much less literary songs of ice and fire, the pairing of dark filth with excellent emotive expression have made for a thematic, artsy beginning to the adventures in store for 2025. Hopefully, Onirophagus continue to spread their artistic wings further and push the limits on what can be done in the death/doom wheelhouse. For now, lovers of the sound should dive in, and if the genre styling tends to leave you cold, give it a chance. You never know what Revelations are waiting for you at the end of the road.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: onirophagus.bandcamp.com/album/revelations-from-the-void-3 | Facebook.com/Onirophagus
Releases Worldwide: January 17th, 2025

#spanishmetal #reviews #review #revelationsfromthevoid #personalrecords #onirophagus

Angry Metal Guy @[email protected] · 2025-01-22 · 21:02 UTC