#mydyingbride — Public Fediverse posts

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

Few luminaries in metal can suckerpunch you right in the feels quite like Patrick Walker of 40 Watt Sun and the legendary Warning. Seriously, he could be singing to you about proper chinchilla care, and many would be left a sobbing, blubbering mess as he caterwauls about what treats and bathing clay to get for your new furry little friend. If you need proof of this, go give 2006’s sorrowful masterpiece (and recent Yer Metal is Olde inductee) Watching from a Distance 45 minutes of your time, and when you’re done splashing cold water on your face to remove the tears and redness, you’ll be hard-pressed to disagree. No one could predict that Walker would resurrect the project, as he seemed happy(?!) and content to continue with 40WS, but with its 2016 resurrection and now new album Rituals of Shame, all eyes are on Walker and crew to deliver.

And deliver, they did. Just like its immediate and legendary predecessor, Rituals is 45 minutes of a band taking its dear, bittersweet time to wrest every milliliter of sadness out of you. From the opening seconds of the title track, Walker and 40WS bandmate Wayne Taylor smother you flat with subdued riffs and simplistic yet effective melodies, even before a single word is muttered. But once Walker begins singing, ho-boy, that familiar yearning ache returns in full depressing force. Weathered by years of life experiences, Walker’s bellowing vibrato haven’t lost an ounce of effectiveness. In fact, they’ve become more potent over time, channeling that feeling that can only be delivered by someone who’s been through various wringers and back through honest conviction. It feels like they never disbanded, only resting until the time is right.

The other four songs also ensure that no light escapes or gets in. Closer “Teacher” hits with the same level of effectiveness as “Bridges” and “Footprints” did on Watching, but not taking as long to do so. Returning bassist Marcus Hatfield and new drummer Andy Prestidge (also of 40WS) added just enough variations of fills, rhythms, and flourishes, but mostly kept to a simple, heavy, and driving sound, again amplifying the anguish conveyed by Walker, his lyrics, and voice. And that’s the key to the effectiveness of Rituals and Warning as a whole; you don’t need flashiness, technical proficiency, or tricks and studio wizardry to be effective. Sometimes, brutally transparent honesty, wide-open space for your instruments to breathe and reverberate, and your emotions in the here and now are more than enough to get your message across.

It doesn’t hurt that Rituals is a massive improvement in some areas in terms of mastering and production. You can hear and feel Hatfield’s bass, and Prestidge’s drums don’t have that annoying “My Dying Bride in an empty bathroom” sound1 that permeated on Watching, so kudos to Tom Dring for engineering the drums perfectly. Thankfully, Chris Fullard and Adam Gonsalves left the guitars and Walker’s voice alone, as what wasn’t broken sure as hell didn’t need fixing. The only drawback to Rituals is this isn’t something I could listen to all that much. Not because of the quality, which is stellar, but it hurts to listen to on an emotional level. If you were in a good mood before listening to this, you sure as shit won’t be when you’re done. That said, if you need to purge and get whatever the fuck is making you sad out, I can’t think of a better album to do so with.

And that’s the… I refuse to say “appeal,” but I’m at a loss for words otherwise, of Warning. You don’t go into their music for gains at the gym, to romance your significant other, or to bask in someone’s ability to up and down a fretboard as fast as humanly possible. You listen to Warning to reflect, to purge, and to feel. And if you’re anything at all like me, you’ve been waiting a damn long time for a worthy follow-up to Watching from a Distance. Thankfully, Warning gave us exactly that. Welcome back.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Relapse
Websites: warningdoom.bandcamp.com | facebook.com/warningdoom | instagram.com/warningdoom
Releases Worldwide: June 19th, 2026

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Miguel Santos loves Edgar Allan Poe. He turned that love into a (sort of) one-man metal project called A Dream of Poe and uses a place called Tell-Tale Studios for mixing and mastering his records—Poe is clearly dear to his heart. The musical dream nearly crumbled, however, when a fire ravaged Santos’s home, destroying the music he’d written for his latest album—all but one song. This must have been devastating, yet from the ashes he resurrected the music and its tale about one character’s descent into the lowest of places: the underworld. Katabasis: A Marriage Among Ashes uses the symbolism of ashes as a parallel to Santos’s own personal tragedy in order to chronicle the agony of loss. The result is an album defined not by bleak darkness, but a sad beauty.

If you’re going to create a band inspired by Poe, there’s no genre more fitting than gothic doom mixed with the classical Romanticism of symphonic instruments. A Dream of Poe takes the form of My Dying Bride without its crushing brutality and the classicism of Tempestuous Fall without its opulence. Katabasis is a surprisingly tender and gentle piece of doom. The pianos and violins add a soft touch, and the guitars strum lovely melodies. The marriage of gentle and lightly brutal opens things on the poignant “The Wail of Gaea,” where the strings and pianos take turns setting a melancholic tone. “The Lament of Phaethon” begins with arpeggios and vocals that take on a folky Dolven vibe, and blaring horns late in the song tell of bad omens to come. Santos shows a knack for hooky choruses, particularly on the catchy “Lamia.” The hookiness returns on the finale, “À Medida de Damastes,” sung in what I assume is Santos’s native Portuguese. This tune kicks up the energy slightly, à la Paradise Lost, before descending into a chilling surge of terror that shatters the peace A Dream of Poe had previously maintained.

A Dream of Poe is technically a one-man project, yet Santos collaborates with a number of musicians who help shape Katabasis. Two of these collaborators split the bulk of the singing duties. Kaivan Saraei handles the first four tracks, with a voice that carries a gothic calm, evoking Dolven’s Jori Apedaile. João Melo, who closes the record out, has a more earthy tone that grows rawer when it increases in intensity. Santos himself contributes, briefly, with some growls that may be underpowered, but fit with the gentler nature of the album. Though Santos handles almost all instruments, other musicians aid in some small but important roles. Ruben Correia plays several guitar solos across Katabasis, providing some nice breaks from the gloom, notably on “Lamia” and “The Captivity of Hesperus.” Correia also plays violins on “The Lament of Phaethon” and “Lamia,” where he brings an organic and poignant touch to what are already terrific tunes. Regardless of who contributes, the musicians pour their hearts and souls into creating this emotionally striking work of art.

With funeral doom, lengthy slow burns are par for the course, yet writing a song that doesn’t overextend itself becomes a tricky balancing act. A majority of tracks on Katabasis fall in the seven-minute range and feel just right. The eleven-minute “Exhorting Nightmares” proves an exception. At seven minutes, it would have been fine, yet Santos keeps it going and even tacks on an ill-advised spoken word section towards the end. On the whole, Katabasis falls into a rather tight 45 minutes, so it’s only a minor complaint. The only other knock against the record is the lack of power behind the guitars and growls. A Dream of Poe is not aiming for the sort of power that My Dying Bride consistently delivers, but a little extra oomph here and there would have made a greater emotional impact.

It would have been so easy to give up in the midst of the loss Santos suffered. Yet he forged ahead and revived his lost music. While Katabasis presents a descent into a bleak place, there is something triumphant in the finished product. Santos, it seems, found himself at the edge of the pit, the imp within contemplating the fall, before the pendulum swung back and pulled him from the brink. He heard the beat of the Tell-Tale Studios and found himself driven not by madness, but by a desire to create his music and leave an indelible mark on the world of heavy metal.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

German death-doom outfit Décembre Noir has received a fair amount of praise here over the years, with four of their five albums garnering ‘Great’ to ‘Good’ ratings from three of AMG’s finest—Madam X, Huck N’ Roll and, most recently, Ferox, whose review of 2023’s Your Sunset | My Sunrise cited a band that may be resting on laurels, perhaps having lost touch with its muse. Whether those issues led Sebastian Görlach, founding guitarist and one of two main songwriters, to depart the band in the Spring of 2024 is unclear. It is, however, germane since he has returned with a new death doom project, Avertat, and a debut album, Dead End Life. While Görlach admits it was hard to walk away from his “baby,” Avertat offers him the opportunity to reunite with “the same forces that have always defined his relationship with metal: emotional truth, atmospheric depth, and the ability to transform darkness into sound.” All that’s left to decide is whether Avertat, and more importantly, Dead End Life, has any future.

On Dead End Life, Avertat draws from the same well of desolate darkness that Décembre Noir has plumbed for years. Add a fair amount of My Dying Bride to the mix, and you can sense what Avertat is about. From skins to strings, Görlach impressively handles all of Dead End Life’s instrumental responsibilities, even contributing his own deathly growls—here, a satisfying mix of Mikael Akerfeldt and Lars Dotzauer.1 Tracks adhere to a tried-and-true formula, oscillating between speedier, chug-heavy melo-death (“Your Hate,” “The Sea”) and slower-paced, melancholic doom (“[7],” “Call to Death”). And while the addition of clean vocals is hardly groundbreaking, the crisp, prog-poppy tones of non-metal newcomer Enrico Langguth—eerily reminiscent of Tim Charles (Ne Obliviscaris)—are refreshing and bright, serving as a dynamic counterpoint to Görlach’s gruffness.2 Langguth’s emotively hopeful delivery both assuages and drives home the pain of Dead End Life’s deeply emotional stories, which are as heavy as Avertat’s music.

Avertat wastes no time getting down to its bleak, loss-is-life business. Album opener “Your Hate” sets the tone, its chunky, angry riffs, razor-sharp leads, and driving drum beats employed to tell the story of an abused child grown up to take care of his abusive parent as Görlach roars the lyric, “Whenever your hand rises, time blurs within me, I am the child that endures it,” before pleading, “When will you stop, when will you stop living?” This anguish cedes to another as the beautiful piano intro of “[7]” introduces us to the painful tale of Marianne Bachmeier.3 Doomy chords and lilting leads are the backdrop as Langguth croons a mother’s lament, “Seeking out for her smile, I always search for her hand, always held onto her so close”4 before death-heavy riffs and Görlach’s growls come crashing in, “Every shot looses the chains, gifts me freedom for the moment,” reflecting a mother’s vigilante-fueled grief and anger. Whether it’s the Line of Deathless Kings-like lilting leads and doomy riffs of “Call to Death” and “Last Request,”—the former a song about war as told through the eyes of war, replete with some Bolt Throwerish chugs—or the long-form doom-goodery of “My Blood,” recounting a father’s pride, Avertat packs a wallop.

Barely shy of 39 minutes, Avertat doesn’t loiter, and despite the brevity of this kind being rare in the genre, it definitely increases Dead End Life’s replay value. In fact, as the final strains of “Last Request” faded from my speakers, I found myself longing for another song, settling instead to start Dead End Life again. Görlach’s production—yes, he produced Dead End Life too—is warm and enveloping, leaving little for me to quibble with. I suppose, if pressed, I could say I connected least with the blast beats of “The Sea,” as they ran rampant under slower-paced guitars and vocals, but honestly, ’twas a small thing. I just wish there was MOAR!

Avertat delivers a heartfelt experience on Dead End Life, rife with emotional and musical heaviness—elevated by the back-and-forth vocal trade-offs of Görlach and Langguth. While I can’t pontificate on Décembre Noir’s future without Sebastian Görlach, I can absolutely say that Avertat’s future looks bright, despite a recipe that peddles in darkness. I will absolutely be here for whatever comes next, and so too should you.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Lifeforce Records
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

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

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

Kenstrosity’s Riffy Representation

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

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

Andy-War-Hall’s Succulent Surplus

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

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

Spicie Forrest’s Punky Proferrings

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

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

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

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

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

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

ClarkKent’s Gratifying Goodies

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

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

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

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

Grin Reaper’s Haunted Harvest

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

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

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

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

Dolphin Whisperer’s Autumnal Anomoly

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

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

Saunders’ Slinky Sneaks

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

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

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

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

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

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

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

Weeping Sores – The Convalescence Agonies [Things You Might Have Missed 2025]

By Creeping Ivy

Pleasure—as Judas Priest, sadomasochists, and Flagellants teach us—can be found in pain. Doug Moore and Stephen Schwegler, the guitar/drum duo behind Weeping Sores, also teach this lesson with The Convalescence Agonies. As its title suggests, the sophomore Weeping Sores album chronicles Moore’s recovery from a shoulder injury that, quite unfortunately, prevented him from playing guitar.1 Quite fortunately for us, Moore sublimates his agony into the listener’s ecstasy with The Convalescence Agonies. Debut False Confession received high praise here, making the 2019 lists of Saunders (Honorable Mention), Cherd of Doom (#8), and Ferrous Beuller (#4). On its follow-up, Weeping Sores deliver a leaner, lusher, and eminently listable slab of death-doom.

On The Convalescence Agonies, Weeping Sores level up by scaling back. False Confession established that Moore and Schwegler of Pyrrhon fame could successfully craft a more plodding, brooding death metal, sounding like Morbid Angel making proclamations to My Dying Bride. At 56 minutes with multiple 9- and 10-minute songs, however, the album definitely fatigues. In comparison, The Convalescence Agonies clocks in at 43 minutes, energizing the listener by lurking towards its epic compositions. Moore’s climbing guitar and anguished screams in “Arctic Summer” segue into “Empty Vessel Hymn,” a heater showcasing Schwegler’s jazzy hands. The mid-album climax, “Sprawl in the City of Sorrow,” spreads chunky, blasty, and militaristic riffs across 9 breezy minutes. “Pleading for the Scythe” mixes delicate chords, lumbering beatdowns, and off-kilter shredding, setting the stage for the title track. “The Convalescence Agonies,” a 14-minute monster, boasts the stankiest, dumpiest chuggery on the entire album. Without compromising the scope of its songwriting, Weeping Sores have crafted a tighter, better-paced album than the debut.

False Confession stans might weep when learning that the violin of Gina Hendrika Eygenhuysen does not appear on The Convalescence Agonies. In its place is the cello of Annie Blythe, which directs a broader ensemble of ancillary instrumentation. Like Eygenhuysen’s violin, Blythe’s cello often occupies center stage, dramatizing sparse verses (“Arctic Summer”) and blasty tremolos (“The Convalescence Agonies”). Arguably, the deeper tone of the cello better suits the music, feeling like an extension of the scooped guitar tone. Weeping Sores also incorporate keyboards from Brendon Randall-Myers (Scarcity), which add a refined, almost proggy aura to caveman breakdowns and hyperspeed chugging (“Pleading for the Scythe”). There’s even banjo in “Sprawl…,” commingling with Blythe’s percussive cello to make a demented guitar lead far more unsettling.2 Some listeners will miss the brighter, more melodically commanding presence of the violin. The Convalescence Agonies more than makes up for Eygenhuysen’s absence, however, with its wider array of sonic textures.

As Moore howls on the title track, the body’s pain ‘teaches nothing…no gift / But the passion of transfiguration.’3 Pain may not teach anything to the suffering speaker or Moore himself, but The Convalescence Agonies teaches us that Weepings Sores is one of the most promising contemporary death-doom projects. Moore and Schwegler have transfigured False Confession into something more beautiful without sacrificing their disgustingly awesome death metal core. Sadly, this TYMHM treatment may not arrive in time to register during Listurnalia. Consider, then, The Convalescence Agonies an honorary Honorable Mention for me (and several others around here, I suspect).

Tracks to Check Out: “Arctic Summer,” “Sprawl in the City of Sorrow,” “The Convalescence Agonies”

#2025 #DeathDoom #DeathMetal #DoomMetal #IVoidhangerRecords #MorbidAngel #MyDyingBride #Pyrrhon #Scarcity #TheConvalescenceAgonies #ThingsYouMightHaveMissed2025 #TYMHM #USMetal #WeepingSores

Tempestuous Fall – The Descent of Mortals Past Review

In 2012, Australia’s Dis Pater released the debut record for his third active—at…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.5 #AeonWinds #AustralianMetal #Dolven #Entertainment #Evoken #FuneralDoom #IVoidhangerRecords #Kawir #MidnightOdyssey #Mozart #MyDyingBride #Nov25 #Opeth #Oromet #review #reviews #SwordsofDis #SymphonicMetal #TempestuousFall #TheDescentofMortalsPast
https://www.newsbeep.com/us/292235/

Tempestuous Fall – The Descent of Mortals Past Review

In 2012, Australia’s Dis Pater released the debut record for his third active—at…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #3.5 #AeonWinds #AustralianMetal #Dolven #Entertainment #Evoken #FuneralDoom #IVoidhangerRecords #Kawir #MidnightOdyssey #Mozart #MyDyingBride #Nov25 #Opeth #Oromet #review #reviews #SwordsofDis #SymphonicMetal #TempestuousFall #TheDescentofMortalsPast
https://www.newsbeep.com/us/292235/

Tempestuous Fall – The Descent of Mortals Past Review

By ClarkKent

In 2012, Australia’s Dis Pater released the debut record for his third active—at the time—one-man project: The Stars Would Not Awaken You by Tempestuous Fall, a work of epic funeral doom. The following year, Pater released what might be the strangest split I’ve heard of: a three-way between his own active projects. It ended up being a “[three] men enter, one man leaves” kind of deal, with Midnight Odyssey being the lone survivor.1 In that time, he has contributed to several other bands, from a Greek black metal group, Kawir, to a Slovakian black metal group, Aeon Winds, as well as a whopping nine LPs for Midnight Odyssey. Yet something about the funeral doom of Tempestuous Fall must have called Pater back. Backed by classical symphonic elements, it turns out he had rather ambitious goals for sophomore album, The Descent of Mortals Past.

The Descent of Mortals Past is a concept album focused on six mythological figures and their unfortunate adventures to the underworld. With themes based in the classics, and even some lyrics in Latin, it should be no surprise that Tempestuous Fall takes a classical approach to the music. “Theseus – Encased in the Stones of Hades” opens with some gorgeous, serene strings before adding on the usual funeral doom trappings of a heavy guitar and glacial pacing. You’ll also hear the melancholic tinkling of piano keys on songs like “Heracles – Dark is the Home of the Underworld,” showing off Pater’s versatility and ingenuity. It’s remarkable the way he melds these classical elements with doom guitars and growls to create lush, hooky funeral doom. “Psyche – Temptation of the Divine” goes all out, bringing in church organs, choral chants and hums, and operatic vocals from guest singer Alice Corvinus (Swords of Dis). This beautiful tune provides such an enticing melody you might follow it to the gates of Hades.

Of course, on the classics you don’t hear singers using demonic growls, but Tempestuous Fall might make them rethink that choice. Pater takes a My Dying Bride approach—alternating between low growls and cleans. He may not be as powerful as Aaron Stainthorpe, but he’s still effective. His growls contrast with the classical melodies and deliver the lyrics poetically, while his cleans provide memorable choruses that make you want to sing along. When the heavy guitars first join the strings on “Theseus…,” it’s a shock to the system like taking the polar plunge in nothing but your underpants. But they add a darkness and melancholy that’s fitting for doomed trips to the underworld. The production is a bit of a let-down, however, as the guitars take on a buzzy quality rather than the muscle of Evoken. Yet there is a charm to this raw, lo-fi quality that takes me back to the earlier Opeth records like Morningrise.

The back half of The Descent of Mortals Past has some unfortunate inconsistencies that keep it from matching the fantastic first half. None of these songs are bad, just different. The first is “Ulysses – Requiem of the Sea,” a doom cover of Mozart’s “Lacrimosa.” It’s a very cool track, but it also feels unoriginal, especially since it is among the most played classical tunes in modern pop culture—almost to the level of parody. Similarly, “Orpheus – In Dark Deathly Grey” is also quite good, but its focus on acoustics makes it sound more at home on a Dolven record than a symphonic funeral doom set. The finale, “Aeneas – Guide Me Home,” is a return to form that fits in much better with the front half. Like these earlier songs, it has strings, doom, and some melodic leads and cleans that end the LP on an uplifting note. Yet, being the longest tune at eleven minutes, it’s the only one that feels like it drags on due to too much repetition. Individually, the songs on the back half are solid and probably keep the record from sounding stale, yet they also break a spell the first half weaves.

While it doesn’t quite reach the level of last week’s Oromet, Tempestuous Fall has written another worthy platter of funeral doom for 2025. With how The Descent of Mortals Past sounds, it is understandable why Pater wanted to return to this funeral doom project after a thirteen-year hiatus. He has an ear for epic yarns, and his injection of doom adds gravity to the classics. I just hope that he doesn’t wait another thirteen years to release the next one.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#2025 #35 #aeonWinds #australianMetal #dolven #evoken #funeralDoom #iVoidhangerRecords #kawir #midnightOdyssey #mozart #myDyingBride #nov25 #opeth #oromet #review #reviews #swordsOfDis #symphonicMetal #tempestuousFall #theDescentOfMortalsPast

Tempestuous Fall – The Descent of Mortals Past Review

By ClarkKent

In 2012, Australia’s Dis Pater released the debut record for his third active—at the time—one-man project: The Stars Would Not Awaken You by Tempestuous Fall, a work of epic funeral doom. The following year, Pater released what might be the strangest split I’ve heard of: a three-way between his own active projects. It ended up being a “[three] men enter, one man leaves” kind of deal, with Midnight Odyssey being the lone survivor.1 In that time, he has contributed to several other bands, from a Greek black metal group, Kawir, to a Slovakian black metal group, Aeon Winds, as well as a whopping nine LPs for Midnight Odyssey. Yet something about the funeral doom of Tempestuous Fall must have called Pater back. Backed by classical symphonic elements, it turns out he had rather ambitious goals for sophomore album, The Descent of Mortals Past.

The Descent of Mortals Past is a concept album focused on six mythological figures and their unfortunate adventures to the underworld. With themes based in the classics, and even some lyrics in Latin, it should be no surprise that Tempestuous Fall takes a classical approach to the music. “Theseus – Encased in the Stones of Hades” opens with some gorgeous, serene strings before adding on the usual funeral doom trappings of a heavy guitar and glacial pacing. You’ll also hear the melancholic tinkling of piano keys on songs like “Heracles – Dark is the Home of the Underworld,” showing off Pater’s versatility and ingenuity. It’s remarkable the way he melds these classical elements with doom guitars and growls to create lush, hooky funeral doom. “Psyche – Temptation of the Divine” goes all out, bringing in church organs, choral chants and hums, and operatic vocals from guest singer Alice Corvinus (Swords of Dis). This beautiful tune provides such an enticing melody you might follow it to the gates of Hades.

Of course, on the classics you don’t hear singers using demonic growls, but Tempestuous Fall might make them rethink that choice. Pater takes a My Dying Bride approach—alternating between low growls and cleans. He may not be as powerful as Aaron Stainthorpe, but he’s still effective. His growls contrast with the classical melodies and deliver the lyrics poetically, while his cleans provide memorable choruses that make you want to sing along. When the heavy guitars first join the strings on “Theseus…,” it’s a shock to the system like taking the polar plunge in nothing but your underpants. But they add a darkness and melancholy that’s fitting for doomed trips to the underworld. The production is a bit of a let-down, however, as the guitars take on a buzzy quality rather than the muscle of Evoken. Yet there is a charm to this raw, lo-fi quality that takes me back to the earlier Opeth records like Morningrise.

The back half of The Descent of Mortals Past has some unfortunate inconsistencies that keep it from matching the fantastic first half. None of these songs are bad, just different. The first is “Ulysses – Requiem of the Sea,” a doom cover of Mozart’s “Lacrimosa.” It’s a very cool track, but it also feels unoriginal, especially since it is among the most played classical tunes in modern pop culture—almost to the level of parody. Similarly, “Orpheus – In Dark Deathly Grey” is also quite good, but its focus on acoustics makes it sound more at home on a Dolven record than a symphonic funeral doom set. The finale, “Aeneas – Guide Me Home,” is a return to form that fits in much better with the front half. Like these earlier songs, it has strings, doom, and some melodic leads and cleans that end the LP on an uplifting note. Yet, being the longest tune at eleven minutes, it’s the only one that feels like it drags on due to too much repetition. Individually, the songs on the back half are solid and probably keep the record from sounding stale, yet they also break a spell the first half weaves.

While it doesn’t quite reach the level of last week’s Oromet, Tempestuous Fall has written another worthy platter of funeral doom for 2025. With how The Descent of Mortals Past sounds, it is understandable why Pater wanted to return to this funeral doom project after a thirteen-year hiatus. He has an ear for epic yarns, and his injection of doom adds gravity to the classics. I just hope that he doesn’t wait another thirteen years to release the next one.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#2025 #35 #aeonWinds #australianMetal #dolven #evoken #funeralDoom #iVoidhangerRecords #kawir #midnightOdyssey #mozart #myDyingBride #nov25 #opeth #oromet #review #reviews #swordsOfDis #symphonicMetal #tempestuousFall #theDescentOfMortalsPast

Tempestuous Fall – The Descent of Mortals Past Review

By ClarkKent

In 2012, Australia’s Dis Pater released the debut record for his third active—at the time—one-man project: The Stars Would Not Awaken You by Tempestuous Fall, a work of epic funeral doom. The following year, Pater released what might be the strangest split I’ve heard of: a three-way between his own active projects. It ended up being a “[three] men enter, one man leaves” kind of deal, with Midnight Odyssey being the lone survivor.1 In that time, he has contributed to several other bands, from a Greek black metal group, Kawir, to a Slovakian black metal group, Aeon Winds, as well as a whopping nine LPs for Midnight Odyssey. Yet something about the funeral doom of Tempestuous Fall must have called Pater back. Backed by classical symphonic elements, it turns out he had rather ambitious goals for sophomore album, The Descent of Mortals Past.

The Descent of Mortals Past is a concept album focused on six mythological figures and their unfortunate adventures to the underworld. With themes based in the classics, and even some lyrics in Latin, it should be no surprise that Tempestuous Fall takes a classical approach to the music. “Theseus – Encased in the Stones of Hades” opens with some gorgeous, serene strings before adding on the usual funeral doom trappings of a heavy guitar and glacial pacing. You’ll also hear the melancholic tinkling of piano keys on songs like “Heracles – Dark is the Home of the Underworld,” showing off Pater’s versatility and ingenuity. It’s remarkable the way he melds these classical elements with doom guitars and growls to create lush, hooky funeral doom. “Psyche – Temptation of the Divine” goes all out, bringing in church organs, choral chants and hums, and operatic vocals from guest singer Alice Corvinus (Swords of Dis). This beautiful tune provides such an enticing melody you might follow it to the gates of Hades.

Of course, on the classics you don’t hear singers using demonic growls, but Tempestuous Fall might make them rethink that choice. Pater takes a My Dying Bride approach—alternating between low growls and cleans. He may not be as powerful as Aaron Stainthorpe, but he’s still effective. His growls contrast with the classical melodies and deliver the lyrics poetically, while his cleans provide memorable choruses that make you want to sing along. When the heavy guitars first join the strings on “Theseus…,” it’s a shock to the system like taking the polar plunge in nothing but your underpants. But they add a darkness and melancholy that’s fitting for doomed trips to the underworld. The production is a bit of a let-down, however, as the guitars take on a buzzy quality rather than the muscle of Evoken. Yet there is a charm to this raw, lo-fi quality that takes me back to the earlier Opeth records like Morningrise.

The back half of The Descent of Mortals Past has some unfortunate inconsistencies that keep it from matching the fantastic first half. None of these songs are bad, just different. The first is “Ulysses – Requiem of the Sea,” a doom cover of Mozart’s “Lacrimosa.” It’s a very cool track, but it also feels unoriginal, especially since it is among the most played classical tunes in modern pop culture—almost to the level of parody. Similarly, “Orpheus – In Dark Deathly Grey” is also quite good, but its focus on acoustics makes it sound more at home on a Dolven record than a symphonic funeral doom set. The finale, “Aeneas – Guide Me Home,” is a return to form that fits in much better with the front half. Like these earlier songs, it has strings, doom, and some melodic leads and cleans that end the LP on an uplifting note. Yet, being the longest tune at eleven minutes, it’s the only one that feels like it drags on due to too much repetition. Individually, the songs on the back half are solid and probably keep the record from sounding stale, yet they also break a spell the first half weaves.

While it doesn’t quite reach the level of last week’s Oromet, Tempestuous Fall has written another worthy platter of funeral doom for 2025. With how The Descent of Mortals Past sounds, it is understandable why Pater wanted to return to this funeral doom project after a thirteen-year hiatus. He has an ear for epic yarns, and his injection of doom adds gravity to the classics. I just hope that he doesn’t wait another thirteen years to release the next one.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#2025 #35 #aeonWinds #australianMetal #dolven #evoken #funeralDoom #iVoidhangerRecords #kawir #midnightOdyssey #mozart #myDyingBride #nov25 #opeth #oromet #review #reviews #swordsOfDis #symphonicMetal #tempestuousFall #theDescentOfMortalsPast

Tempestuous Fall – The Descent of Mortals Past Review

By ClarkKent

In 2012, Australia’s Dis Pater released the debut record for his third active—at the time—one-man project: The Stars Would Not Awaken You by Tempestuous Fall, a work of epic funeral doom. The following year, Pater released what might be the strangest split I’ve heard of: a three-way between his own active projects. It ended up being a “[three] men enter, one man leaves” kind of deal, with Midnight Odyssey being the lone survivor.1 In that time, he has contributed to several other bands, from a Greek black metal group, Kawir, to a Slovakian black metal group, Aeon Winds, as well as a whopping nine LPs for Midnight Odyssey. Yet something about the funeral doom of Tempestuous Fall must have called Pater back. Backed by classical symphonic elements, it turns out he had rather ambitious goals for sophomore album, The Descent of Mortals Past.

The Descent of Mortals Past is a concept album focused on six mythological figures and their unfortunate adventures to the underworld. With themes based in the classics, and even some lyrics in Latin, it should be no surprise that Tempestuous Fall takes a classical approach to the music. “Theseus – Encased in the Stones of Hades” opens with some gorgeous, serene strings before adding on the usual funeral doom trappings of a heavy guitar and glacial pacing. You’ll also hear the melancholic tinkling of piano keys on songs like “Heracles – Dark is the Home of the Underworld,” showing off Pater’s versatility and ingenuity. It’s remarkable the way he melds these classical elements with doom guitars and growls to create lush, hooky funeral doom. “Psyche – Temptation of the Divine” goes all out, bringing in church organs, choral chants and hums, and operatic vocals from guest singer Alice Corvinus (Swords of Dis). This beautiful tune provides such an enticing melody you might follow it to the gates of Hades.

Of course, on the classics you don’t hear singers using demonic growls, but Tempestuous Fall might make them rethink that choice. Pater takes a My Dying Bride approach—alternating between low growls and cleans. He may not be as powerful as Aaron Stainthorpe, but he’s still effective. His growls contrast with the classical melodies and deliver the lyrics poetically, while his cleans provide memorable choruses that make you want to sing along. When the heavy guitars first join the strings on “Theseus…,” it’s a shock to the system like taking the polar plunge in nothing but your underpants. But they add a darkness and melancholy that’s fitting for doomed trips to the underworld. The production is a bit of a let-down, however, as the guitars take on a buzzy quality rather than the muscle of Evoken. Yet there is a charm to this raw, lo-fi quality that takes me back to the earlier Opeth records like Morningrise.

The back half of The Descent of Mortals Past has some unfortunate inconsistencies that keep it from matching the fantastic first half. None of these songs are bad, just different. The first is “Ulysses – Requiem of the Sea,” a doom cover of Mozart’s “Lacrimosa.” It’s a very cool track, but it also feels unoriginal, especially since it is among the most played classical tunes in modern pop culture—almost to the level of parody. Similarly, “Orpheus – In Dark Deathly Grey” is also quite good, but its focus on acoustics makes it sound more at home on a Dolven record than a symphonic funeral doom set. The finale, “Aeneas – Guide Me Home,” is a return to form that fits in much better with the front half. Like these earlier songs, it has strings, doom, and some melodic leads and cleans that end the LP on an uplifting note. Yet, being the longest tune at eleven minutes, it’s the only one that feels like it drags on due to too much repetition. Individually, the songs on the back half are solid and probably keep the record from sounding stale, yet they also break a spell the first half weaves.

While it doesn’t quite reach the level of last week’s Oromet, Tempestuous Fall has written another worthy platter of funeral doom for 2025. With how The Descent of Mortals Past sounds, it is understandable why Pater wanted to return to this funeral doom project after a thirteen-year hiatus. He has an ear for epic yarns, and his injection of doom adds gravity to the classics. I just hope that he doesn’t wait another thirteen years to release the next one.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#2025 #35 #aeonWinds #australianMetal #dolven #evoken #funeralDoom #iVoidhangerRecords #kawir #midnightOdyssey #mozart #myDyingBride #nov25 #opeth #oromet #review #reviews #swordsOfDis #symphonicMetal #tempestuousFall #theDescentOfMortalsPast

Tempestuous Fall – The Descent of Mortals Past Review

By ClarkKent

In 2012, Australia’s Dis Pater released the debut record for his third active—at the time—one-man project: The Stars Would Not Awaken You by Tempestuous Fall, a work of epic funeral doom. The following year, Pater released what might be the strangest split I’ve heard of: a three-way between his own active projects. It ended up being a “[three] men enter, one man leaves” kind of deal, with Midnight Odyssey being the lone survivor.1 In that time, he has contributed to several other bands, from a Greek black metal group, Kawir, to a Slovakian black metal group, Aeon Winds, as well as a whopping nine LPs for Midnight Odyssey. Yet something about the funeral doom of Tempestuous Fall must have called Pater back. Backed by classical symphonic elements, it turns out he had rather ambitious goals for sophomore album, The Descent of Mortals Past.

The Descent of Mortals Past is a concept album focused on six mythological figures and their unfortunate adventures to the underworld. With themes based in the classics, and even some lyrics in Latin, it should be no surprise that Tempestuous Fall takes a classical approach to the music. “Theseus – Encased in the Stones of Hades” opens with some gorgeous, serene strings before adding on the usual funeral doom trappings of a heavy guitar and glacial pacing. You’ll also hear the melancholic tinkling of piano keys on songs like “Heracles – Dark is the Home of the Underworld,” showing off Pater’s versatility and ingenuity. It’s remarkable the way he melds these classical elements with doom guitars and growls to create lush, hooky funeral doom. “Psyche – Temptation of the Divine” goes all out, bringing in church organs, choral chants and hums, and operatic vocals from guest singer Alice Corvinus (Swords of Dis). This beautiful tune provides such an enticing melody you might follow it to the gates of Hades.

Of course, on the classics you don’t hear singers using demonic growls, but Tempestuous Fall might make them rethink that choice. Pater takes a My Dying Bride approach—alternating between low growls and cleans. He may not be as powerful as Aaron Stainthorpe, but he’s still effective. His growls contrast with the classical melodies and deliver the lyrics poetically, while his cleans provide memorable choruses that make you want to sing along. When the heavy guitars first join the strings on “Theseus…,” it’s a shock to the system like taking the polar plunge in nothing but your underpants. But they add a darkness and melancholy that’s fitting for doomed trips to the underworld. The production is a bit of a let-down, however, as the guitars take on a buzzy quality rather than the muscle of Evoken. Yet there is a charm to this raw, lo-fi quality that takes me back to the earlier Opeth records like Morningrise.

The back half of The Descent of Mortals Past has some unfortunate inconsistencies that keep it from matching the fantastic first half. None of these songs are bad, just different. The first is “Ulysses – Requiem of the Sea,” a doom cover of Mozart’s “Lacrimosa.” It’s a very cool track, but it also feels unoriginal, especially since it is among the most played classical tunes in modern pop culture—almost to the level of parody. Similarly, “Orpheus – In Dark Deathly Grey” is also quite good, but its focus on acoustics makes it sound more at home on a Dolven record than a symphonic funeral doom set. The finale, “Aeneas – Guide Me Home,” is a return to form that fits in much better with the front half. Like these earlier songs, it has strings, doom, and some melodic leads and cleans that end the LP on an uplifting note. Yet, being the longest tune at eleven minutes, it’s the only one that feels like it drags on due to too much repetition. Individually, the songs on the back half are solid and probably keep the record from sounding stale, yet they also break a spell the first half weaves.

While it doesn’t quite reach the level of last week’s Oromet, Tempestuous Fall has written another worthy platter of funeral doom for 2025. With how The Descent of Mortals Past sounds, it is understandable why Pater wanted to return to this funeral doom project after a thirteen-year hiatus. He has an ear for epic yarns, and his injection of doom adds gravity to the classics. I just hope that he doesn’t wait another thirteen years to release the next one.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

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