#mydyingbride — Public Fediverse posts

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.

UK doom metal saviors Godthrymm are a damn good band. If you’ve had a chance to listen to either their full-length debut Reflections or their follow-up in 2023’s mighty Distortions, you already know just how talented and outright heavy their brand of doom and traditional metal can get. Then again, you’d also know that their pedigree (with stints in Vallenfyre, Solstice, and of course My Dying Bride, among others) pretty much guaranteed a rock-solid backdrop to their sound. With all that said, I’ve awaited Projections, their final piece to their Visions, for as long as it was announced. Now that it’s upon us, and I’ve had a chance to spend a good, solid week with it, I’ve got some major concerns.

Before I get into the reasons why, let’s focus on the good. There are no poor performances on the album from anybody. Lead-off single “Truth in My Own” is classic Godthrymm through and through, with Hamish Glencross and newcomer Kris McLaughlin throwing down riff after heavy riff, and Hamish’s voice is once again in fine form, especially when he sings alongside his wife, keyboardist Catherine Glencross. Elsewhere, “Endure My Skin” features a fine performance by former My Dying Bride (and current High Parasite) vocalist, Aaron Stainthorpe, reuniting him with Hamish and fellow MDB alumni, drummer Shaun Taylor-Steels. Those two songs are Godthrymm personified.

Sadly, there are four other songs on here,1 and that’s where the concerns lie. Opener “Trenches Deep,” which features Adie Bailey (English Dogs) and Jay Walsh (Xentrix) providing additional vocals, starts off promising enough, but for whatever reason, transitions into a thrash tune that sounds eerily like MDB’s “The Forever People,” and the way it was shoehorned in is anything but natural. At the other end, closer “Hope is Eternal” starts off with an impressive drum fill by Taylor-Steels, and a somber performance by Catherine, until we get to the chorus, which features Catherine wailing “MEEEEEEeeeEEEEEEEEEEEEeeeeeeeeee…” repeatedly. In fact, Catherine features more vocally on this album than Hamish, which isn’t a bad thing at all. I just wish the songs were better, with the other two songs, “Jewels” and “The Sun Never Fell,” not making an impact with me no matter how many times I listen, and no matter who is singing.

It doesn’t help that there are production issues as well. For some inexplicable reason, about halfway through the thrash portion of “Trenches Deep,” there’s a noticeable volume dip, as well as some major compression. I don’t know if this was intentional, but it’s highly off-putting. That volume dip would later reverse itself as “The Sun Never Fell” jacks the volume back up for no reason at all. On my first listen, I thought I was imagining things when it came to the production side, but on repeated listens, they’re right there, and they’re distracting on an album that’s already having a tough time winning me over on a songwriting level. And that absolutely sucks to say, especially since Godthrymm, up until now, has been delivering nothing but slam dunks on each of their preceding albums.

This is not how I envisioned reviewing Projections. In what should have been a hat trick, I’m left baffled and more than a little disappointed. I’m hoping this is just a hiccup, as Godthrymm stand toe-to-toe with the absolute best in British doom metal, rivaling the best that many of the heroes of that genre. With Reflections, they channeled the very best love letter to the classics of yore. On Distortions, they added their own flavor and punch to that sound, resulting in my favorite album of 2023. Sadly, on Projections, I’m listening to this solely for writing this review, and little else. This is not how I wanted things to transpire.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

There’s a common misconception from readers of this fine blog that we writers are well-versed, well-traveled, and have kept abreast of all the happenings and goings-on within the world of our favorite genre of music. I hate to pop your bubble gum, but that’s wildly untrue. We all have lives, careers, and people in our lives that take time away from listening to new music from artists that we have always loved or, in my case here, artists we’ve been wanting to check out, but for some reason haven’t. A Forest of Stars, the British avant-garde septet, are that band for me. Their newest, Stack Overflow in Corpse Pile Interface, their first album in eight years and sixth overall, is here for dissection, and I’m going in almost completely blind, and without a single note heard prior.

I’m already anticipating the hate mail for this, but from what everyone told me of AFoS, it’s a heady mix of British Black Metal,1 doom metal, and spoken word. All good things, in my book! Plus, Katheryne, Queen of the Ghosts helped bring back the violins for My Dying Bride’s 2009 album, For Lies I Sire, which again is a good thing! And despite it being over 73 minutes, Stack Overflow rarely meandered or sat in place for too long, making for an engaging listen throughout. Opener “Ascension of the Clowns” sets a doomed tone, quietly and somberly setting the scene before Mister Curse begins ranting like the proselytizers across the street from where I work. Maniacal and unrelenting, Curse’s caustic delivery and unhinged performances sometimes seem at odds with the framework of the music, but the two sides need each other as much as they want nothing to do with each other.

And that odd dichotomy propels Stack Overflow, especially in the final half-hour-plus one-two punch of both “Sway, Draped in Vague” and “Not Drinking Water.” The former, also awakening a faux dreamy vibe before sending the listener careening through the backstreets of London, with Curse and Katheryne trading off vocal lines while Mr. T.S. Kettleburner and Mr. William Wight-Barrow unleash some incredible riffs and tremolo melodies blanketing Katheryne’s sweeping violins towards the song’s middle, making the song’s 17 minutes feel like a journey. “Not Drinking Water,” in contrast, feels downtrodden in the beginning, containing some of the album’s slowest moments, before hitting what could accurately be called a humdinger of a jam session right at the song’s midpoint, with solos and hooks galore to wrap up both a fantastic closer, as well as a hell of a way to finish out the album.

Of course, there are some issues with Stack Overflow. While most of the material flows seamlessly, there does seem to be some fat to trim, especially in some of the more atmospheric moments. Also, while there isn’t a single weak moment on the album, it really is best experienced in one sitting with most of the lights off, some candles, your favorite beverage, and (if you partake) your smoking implement of choice, and for some, 73 minutes is a big ask for many of us, especially if you’re busy like I am. However, if you can make the time and get in the right headspace, you will be rewarded handsomely.

I’m due for some weirdness, especially in the departure of Voices.2 Not only does Stack Overflow in Corpse Pile Interface scratch that itch until it bleeds, but it also turned me on to a band that I went from “I need to check them out sometime” to “Okay, how much is their stuff on Bandcamp?” in record time. A Forest of Stars, in a just world, should be heralded as purveyors of odd, eclectic metal. Here’s hoping that Stack Overflow in Corpse Pile Interface is as much a jumping-on point for many of you as it was for me. Believe me, you can do a hell of a lot worse.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

It’s no secret that funeral doom is all about death, but in case you weren’t aware, Lone Wanderer hits you over the head with the fact (don’t worry, it’s not a fatal whack). The title of their latest record, Exequaie, is Latin for “funeral rites.” The album cover, from Ernst Ferdinand Oehme’s 1828 painting Procession in the Fog, depicts a ghostly funeral procession, and most song titles use death as a theme in some shape or form. Lone Wanderer have been at this for over ten years, but they’ve been independent until now, signing with High Roller Records for the release of Exequaie. According to the band’s promo sheet, this will be album number three, but perhaps it’s telling how funeral doom warps one’s sense of time when they claim that their 43-minute debut is an EP. Their follow-up, The Majesty of Loss, is only three minutes longer, so it’s anyone’s guess where they draw the line between LP and EP. Their albums have only gotten longer since, with The Faustian Winter hitting the hour mark and now Exequaie reaching a lofty 72 minutes. Honestly, if you’re looking for a soundtrack to your funeral, this isn’t a bad option.

On the funeral doom scale, Lone Wanderer fits the Oromet scale more closely than My Dying Bride or Godthrymm. Exequaie mixes the gentle with the crushingly heavy, and the heavier riffs carry more reverb than muscle, lending a more tranquil feel than raw power. Over the course of 24 minutes, the beastly opener “To Rest Eternally” demonstrates Lone Wanderer’s slow burn approach, with impenetrably deep vocals, glacial drum beats, and a slowly developed melody. The gentler portions put away the booming drums and instead twinkle with arpeggiated rhythm while the bass plays out a complementary melody. We hear this tug and pull throughout Exequiaie, from the melancholic and heavy to something more peaceful, still tinged with sorrow but carrying a little hope. Ironically, “Anhedonia”1 showcases the album’s most pleasurable and memorable riffs during its opening few minutes. The remainder is also exquisite, delving into immense sorrow before closing out in tranquility. The song guides you into gentle acceptance of the fate that awaits us all at the end.

Exequiae by Lone Wanderer

Going in line with the “funeral rites” theme, plenty of elements in Exequaie appear to represent religious symbols or godly figures. The opening minutes of “To Rest Eternally” provide a distant reminder of a church setting with the tolling of bells. This holy setting returns in the finale, “Epistemology of the Passed,” where organs play a mournful dirge alongside wistful arpeggios. The vocals from Bruno Schotten serve as an omnipresent character, his low rumbles coming off like thunder rolling through the sky. Scattered throughout the album, Lone Wanderer perform spoken word portions that serve to enhance this godly persona. While such song segments are generally a nuisance, here they fit seamlessly, taking on the presence of an Oz-like character, commanding yet distant. The purpose of these elements may be inscrutable, but they do provide a sense of formality and authority accompanying death.

As great as the individual tracks are, Exequiae’s biggest obstacle is its own length. With any funeral doom record, holding the listener’s attention can be a challenge, and a 72-minute runtime across 5 songs feels more like work than pleasure. Yet there is plenty to enjoy on this epic record, and Lone Wanderer does implement some variety to mix things up a bit. “Existence Nullified” has a moment of chugging death-doom riffs that take me back to early Swallow the Sun. “Epistemology of the Passed” has a similar increase in tempo thanks to energetic tremolos and brisk drum beats. These moments are brief and few, but all the more notable because of their rarity. In the end, Exequaie’s length isn’t a deal breaker because it has such exquisite compositions. There’s just so much beauty in the music it could go on for twice as long and it’d still be heavenly.

Lone Wanderer is kicking funeral doom off to a great start for 2026. There’s something about the band’s often gentle sound that creates calm, as opposed to bands that lay the despair and melancholy thick with more powerful, overbearing guitar tones. Don’t let the 72 minutes intimidate you. Set aside some time and let Exequiae’s mix of melancholic, peaceful, and even hopeful tones wash over you and transport you, for a time, to a place where you no longer need to worry.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Website: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

This stunning debut comes to us via members from across the globe—from England to Spain to Czechia to Brazil. Despite somewhat limited experience between them, the sextet plays like they’ve been jamming together for decades. They bring an eclectic range of styles from their previous and current bands, from black metal to scatological heavy metal to melodic doom to gothic metal, in order to craft a gentle yet brutal piece of gothic doom metal. I would like to give a warm welcome to Opia and their powerful debut album, I Welcome Thee, Eternal Sleep.

Opia deftly balances the gentle with the crushingly heavy, resulting in a record of beautiful melancholy that would make My Dying Bride and Swallow the Sun proud. They achieve this with a dichotomy of soft arpeggios and heavy riffs, of tender cleans and harsh growls. This dichotomy amplifies the melancholic power of the music, and there’s an undeniable satisfaction when a song suddenly grows loud and brutal following a softer stretch. We hear this on tracks like “Days Gone By,” which opens with some nifty fretwork before exploding into heavier riffs. Opia flexes their true muscle on masterpieces like “Man Proposes, God Disposes” and “Silence,” where Tereza Rohelova’s cleans croon a melancholic melody before delving into such despairing heaviness that it’ll have you aching from the hurt. The similarly astonishing “The Eye” flips the melodic element on its head with a chorus where Rohelova’s growls deliver the beauty over top a soaring keyboard part.

I Welcome Thee, Eternal Sleep by Opia

As great as the compositions are, the heartfelt performances by all musicians elevate the material. As frontwoman, Rohelova sets the tone with an electrifying performance on the level of My Dying Bride’s Aaron Stainthorpe. Her cleans take on a haunting quality that adds a touch of the gothic, and while her growls don’t reach the muscular tone of Stainthorpe, they are nonetheless effective in setting a tone of brutality. The dual guitar work from Phoenix Griffiths and Dan Tregenna also dazzle. Their fretwork is so effective and creative, whether it’s the mellower arpeggios or crushing riffs, that there’s never a dull moment or a lull. Marcelo Teixeira, behind the kit, is also solid. He swaps between gentle drum and cymbal taps to pummeling blast beats on a dime. He really goes all out on a climatic moment on the finale, “On Death’s Door Part II,” that’ll leave you breathless. Important to setting up the gothic tone is keyboardist Jorge Afonso Rodriguez, who adds melodic depth as well as atmosphere. There’s a depth to the songwriting that opens up rewarding new avenues every time I give the record another spin.

Having been released in late April, I missed out on the opportunity to review I Welcome Thee, Eternal Sleep by just a few weeks. But when I first heard it, I knew it was special enough to save for a TYMHM. A debut this powerful should not be missed, and having spent this extra time with it late in the year, I believe I made a mistake by not including it in my end of year list. This is a promising start for a group who, I hope, continues to craft songs together for a long time to come.

Songs to Check Out: ”Man Proposes, God Disposes,” “The Fade,” “The Eye,” “Silence

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

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Sh*t That Comes Out Today – April 19, 2024
Featuring releases from High On Fire, Melvins, and My Dying Bride. The post Sh*t That Comes Out Today –

https://www.metalsucks.net/2024/04/19/sht-that-comes-out-today-april-19-2024/

#AntichristSiegeMachine #VengeanceOfEternalFire #HighOnFire #ComethTheStorm #Melvins #TarantulaHeart #MyDyingBride #AMortalBinding #SeeYouSpaceCowboy #CoupDeGrace #BillyMorrison #TheMorrisonProject #BlazeOfPerdition #Upharsin #CouchSlut #YouCouldDoItTonight #Dayseeker #Replica