#necrophobic — Public Fediverse posts

Thunder rattles the ducts as my minions trudge through heated aluminum and flimsy copper to clean out the detritus left by endless storms. Sometimes I wonder if I should invest in a “health plan” for them to offset the debilitating turnover resulting from various mortal injuries and gruesome deaths this work incurs. And then I think again, and realize that would be a waste of “profits.” There will always be more dummies willing to dive in with the promise of treasure sparkling in their eyes.

Aaaaannnnyyyyway, nobody lost limb or life in the Filter today, but we did manage a decent haul. BEHOLD!

Kenstrosity’s Burning Bastion

Forsmán // Brenndar rústir & fuðrandi fjörur [June 26th, 2026 – Vesperian]

Iceland is where all the cool black metal kids sit. Smeary corpse paint, cloaks, throaty roars, somehow simultaneously wet and dry snare tones, and hooky riffs surrounded in lower-pitched tremolos make the Icelandic scene almost instantly recognizable. Forsmán are no exception, the young foursome abiding by the genre blueprint—in a similar way to bands like Svartidauði and Helfró—on remarkably professional debut Brenndar rústir & fuðrandi fjörur. A deathly kink lightly twists blasty riff freakouts (“Drottinn fyrirgefur allt,” “Valdníðsla”), but when they land their impact cracks the earth underfoot. A dissonant drama further characterizes Forsmán’s black metal core to scaffold riff-driven measures and off-kilter rhythms, and yet everything remains accessible and easily digestible (“Svartir svanir,” “Andvana,” “Barmafylltar fjöldagrafir”). While Forsmán aren’t attempting to redefine the style with this debut, they do earn a spot alongside the genre’s best with tight performances, fiery riff-forward writing, and a writhing personality that is vicious as much as it is beautifully expressed (“Kynjamyndir”). In short, Brenndar rústir & fuðrandi fjörur should not be missed, as it represents with great merit the high quality I’ve come to expect from the modern Icelandic black metal scene.

Owlswald’s Sunlit Secret

Entropist // The Vision [June 26, 2026 – Self Released]

Denver progressive death metal quintet Entropist is the very definition of a Stuck in the Filter unearthing. Their debut album, The Vision, slipped through the cracks amid our June promo flood and resurfaced too late for a standard review. Time to make amends. Mixed and mastered by Jamie King (Between the Buried and Me, The Contortionist), The Vision showcases a group brimming with talent and ambition.1 Blending death with elements of progressive metal, psychedelic rock, metalcore, jazz, and classical, The Vision is a melting pot of influences that thrives on vivid atmospherics and an effective dual-vocal approach from Parker Kitching and guitarist Solomon Smith, creating a sound that is adventurous and rewarding. “Intense Warmth” opens with a bout of hypnotic throat singing that morphs into layered croons. “Desert of Limbo’s” crawling melodies evoke Haken. Elsewhere, “The Ritual’s” eerie atmosphere and its intense bridge throw serious Aeolian-era The Ocean vibes, while “Devour Us” delivers exotic acoustic guitar and violin passages before closing with a swaggering groove and a contorted solo. “Creation” proves what Entropist is capable of when all the pieces lock together. Packed with Exoplanet-like riffs, alternating growls and soaring vocals, and a heaving half-time groove, the track’s eclecticism and momentum never let up. Not every experiment lands—”Revelation” and the aptly named “Wandering” lose sight of their destination—but there’s too much talent and creativity here to ignore. The Vision may be far from flawless, but it’s without a doubt an impressive debut.

Spicie Forrest’s Mathy Morsel

eleventwelfth // 11 [June 26, 2026 – Angular//Momentum Records]

Do you remember when Sithu Aye released that Senpai series?2 Airy, engaging, and wildly emotive, I’ve been chasing that sound ever since. eleventwelfth’s newest LP, 11, scratches that itch as it hasn’t been scratched in years. Part one in a concept duology3 that will serve as the Jakarta, Indonesia-based foursome’s sophomore offering, 11 follows its protagonist as they reckon with the necessary sacrifices one must make in pursuit of a dream. Largely rooted in indie and math rock, 11 unfolds in three acts filtered through aviation metaphors. Hopeful and tender melodies dance on strings like the wind through tall grass (“far away from here,” “collision”), while vocals effortlessly swoop and soar like an albatross on ocean air currents. 7-minute closer “communicate” swells inexorably, wind gathering under its wings until, at the midpoint, it takes off in a beautiful moment of catharsis. Synths and electronic elements evoke Porter Robinson’s Nurture in their gentle and ineffably nostalgic movements (“navigate,” “to fathom the throes”). When eleventwelfth leans into their Reliant K’d rock side, as on “ascending faster than before,” “fear of what’s beyond,” or “last here all alone,” 11 moves as if in a flow state—somehow simultaneously approaching lightspeed and locked in a timeless moment. This certainly isn’t the heaviest thing you’ll hear this year—it might be the lightest—but for those who know what it means to risk it all on hopes and dreams, 11 is not to be missed.

ClarkKent’s Energetic Inputs

Finsmoonth // Chrysalis of Astral Tears [June 13th, 2026 – Disaster Records]

Indonesia’s Finsmoonth puts on a clinic of melancholic atmospheric black metal with some first-rate tremolos and affecting performances. They partake in an aggressive, melodic form of the genre that’s similar to Walg in its relentlessness. Icy cold blast beats pummel your ears while the melodic tremolos prove a soothing balm wrapped in melancholy. The two guitarists, Zulk Adhe and Irwin Ranto, are tremolo wizards, serving quality leads on each song. My favorite, “Embers at Ethereal Dawn,” displays Finsmoonth’s ability to build up to powerful emotional climaxes. Tino Guruh proves an effective and consistent vocalist. His blackened rasps form the emotional core, and on “Embers at Ethereal Dawn,” he breaks into agonized cries that are just heartbreaking. The passing of the band’s bassist, Maulana Fachrul, less than two months ahead of the release of Chrysalis of Astral Tears adds further to the poignancy. Fachrul puts on a first-rate performance, with some stellar lonesome instrumental stretches on “An Endless Depth,” as well as a bit of smooth jazz noodling towards the end of “Foliage of the Wings.” If Indonesian black metal reminds you of Pure Wrath, then it might not be a surprise to learn that Januaryo Hardy contributes the cleans/chants, and even his wife, Isa Bellum, has a couple of small parts. I don’t know what’s going on in Jakarta to make these artists so sad, but they’re writing some damn fine music.

Inherits the Void // The Silent Abscission [June 19th, 2026 – Avantgarde Music]

France’s Antoine Scholtès has been quite busy since forming his solo black metal project, Inherits the Void, in 2020. Thus Spoke had kind words for the previous two, 2023’s The Impending Fall of Stars and 2024’s Scars of Yesteryear, comparing the former to the atmospheric meloblack of Mare Cognitum. This time around, Scholtès brings along some friends, including Romain Negro (Apolaustic, ex-Stortregn) to helm the mic. Romain brings a much more aggressive blackened edge to the vocals, cracking with a relentless energy. Scholtès still contributes backing vocals, and a mysterious Nicolas S. sings cleans on a couple of tracks, including a great soaring bit on the finale, “Inherits the Void.” The Silent Abscission feels a touch more aggressive than what Inherits the Void generally plays. Between the blast beats, furious tremolos, and Romain’s blackened assault, there’s a sense of constant kinetic motion. It’s true that some of this stuff can blend together, but there’s plenty of great melodies to keep it enjoyable from start to finish. While Scholtès continues to use synths and arpeggios as brief reprieves from the blast beat attack, he also invites Kevon S. to play some sax (“Wrath of the Endless Sea,” “Inherits the Void”), bringing to mind Burial in the Sky or White Ward. The Silent Abscission is yet another impressive outing in Inherits the Void’s discography, with Scholtès showing that he’s willing to take some risks in order to make things more interesting.

Grin Reaper’s Nocturnal Nuggets

Hecate // Comment Est la Nuit? [June 12th, 2026 – Self Released]

Since forming in 2009, French ensemble Hecate has steadily released reliable and trve black metal. Fourth album Comment Est la Nuit?4 serves as my introduction to the act, and after visiting earlier albums I’m confident that their latest is their greatest (so far).5 Where debut Chronicles d’un Autre Temps sounds more modern (think 1349 or Watain), subsequent albums gravitate towards raw production that radiates early second-wave energy. Comment Est la Nuit? perpetuates this aesthetic, though Hecate adorns it with classical frills that I find irresistible, such as their seamless integration of piano, flute, and cello with gusts of piercing tremolos and grating rasps. Though Comment Est la Nuit? remains solidly rooted in black metal, the keys function as a core component like never before. Each time I listen, Hecate reveals new facets that only get better with familiarity. The intro to “Aubes aux pâles salives” begins with a beautiful piano refrain supported by clean guitars and a subtle bass thread before tumbling into distorted trems that bear the same melodic framework. Likewise, the range of “Hymne au clair de lune” batters listeners between scathing muscle and delicate respites. I don’t expect Comment Est la Nuit? to change opinions about black metal, but those who enjoy it will find Hecate has written an engrossing experience that wonderfully details the rhythms of the night.

Stormkeep // The Nocturnes of Iswylm [June 12th, 2026 – Vesperian]

Like many, I eagerly awaited a full-length follow-up to Stormkeep’s magnificent debut Tales of Othertime, uncertain if or when it would arrive. Because the band’s other projects consistently enrapture me (Wayfarer and Blood Incantation, in particular), I never worried whether the Denver, Colorado collective’s sophomore platter would satisfy the promises made by Othertime. And while I’m not convinced that The Nocturnes of Iswylm reaches the heights the debut, Stormkeep still unleashes goodies aplenty that litter Nocturnes three-quarters of an hour. Gone are the instrumentals from Tales of Othertime—instead, Stormkeep dials down the cinema in favor of more straightforward meloblack, although drama still seethes beneath the surface. String embellishments dot the arrangements (“The Taste of Immortal Blood,” “Imperious Sanguine Eroticism,” “Carnal Tapestries of Nailtorn Flesh”), imparting dramatic flair and a welcome dimension to Stormkeep’s fantastical atmosphere. And like the cover art, The Nocturnes of Iswylm embraces darker textures that wrestle in doleful gloom, engendering a subtler experience that took time to sink in and appreciate. While this approach doesn’t ply the same epic theatricality as the debut, The Nocturnes of Iswylm nonetheless worms its way into ears and hearts with nefarious glamours that crackle with danger.

Belarus Beaver // Grind af den Brune Bäfver [June 17th, 2026 – Self Released]

Sweden plays host to many metallic endeavors, and I often feel like I’m picking up secondhand geography lessons as a result of listening to its exports. Belarus Beaver, then, supplies a toofer, as they began their journey in melodeath mecca Gothenburg before settling down in Jönköping (also home to Hällas, Rexoria, and Narnia). Rather than progressive rock or power metal, though, Belarus Beaver obliterates listeners with a bucktoothed bombshell of devastating deathgrind that’s at once savagely br00tal and pure fun. Also, it’s all about beavers. On fourth album Grind af den Brune Bäfver, Belarus Beaver weaves together groove-laced blasts with industrial trimmings that recall a mixture of early Anaal Nathrakh (“I Want to Pet a Beaver”) and Exhumed (“Den Gnagande Plågan,” “Begravd i en Flod”). Occasionally, though, Grind af den Brune Bäfver reaches for a twist in their songwriting repertoire that uplifts the music, like the Eastern stringed instrument at the beginning of “Urbävern” or the unexpected melodic guitar support midway through “Mutated Beaver Moose.” These moments and others like them elevate Grind af den Brune Bäfver above sheer novelty, and if you’re not sold on Beaver fever, you’re missing out. So let your hair down and give yourself over to the Grind—it’s dam fun.

Creeping Ivy’s Classic Catch

Dead Kosmonaut // Retrospectre [June 26th, 2026 – Edged Circle Productions]

Dead Kosmonaut conceived a perfect title for their third album. Since 2014, this Swedish quintet has been molding traditional heavy metal hearkening to the late 70s and early 80s. This style—the first wave of metal itself—haunts any and every musician in the genre with aspirations of crafting something trve. With the specter of retro metal hanging over the band’s collective head, Retrospectre delivers 38 minutes of classic goodness, imbued with a somber longing. Dead Kosmonaut is a well-credentialed crew, starting with guitarists Fredrik Folkare (ex-Necrophobic) and Peter Hallgren (Sorcerer), who dole out irresistible guitarmonies and audacious solos in the spirit of Iron Maiden (“Out of the Shadow Rising”). The rhythm section, comprised of bassist Mattias Reinholdsson and drummer Henrik Johansson (both ex-Book of Hours), punches through the mix with power and a bit of grit (“Wake of Aquarius”). And of course, vocalist Per ‘Hellbutcher’ Gustavsson shines, trading his black metal bona fides for commanding cleans that drive some damn fine choruses (“View from the Future”). Lyrically, the album especially develops its theme of retrospection in the latter half, with songs about aging (“Eyes Grow Old”), defeat (“The Battle is Over”), and the inexorable march of time (“The Retrospectre”). Retrospectre will certainly scratch any itches for timeless, classic metal, but Dead Kosmonaut have enough talent, character, and craftmanship to make their third offering more than mere nostalgia.

In a genre as insular as the often meme’d-and-mocked “one man raw black metal” offerings, Black Cilice have managed to become kind of a big deal. With an early release schedule that makes Coffins look like a bunch of slackers, their output has finally begun to slow down over the years, going from multiple splits and demos in one season to multi-year bouts of interruption. Votive Fire comes after an unusual four-year gap between full-lengths, claiming a slightly improved production and an emphasis on bigger songs. Black Cilice have been on a bit of an evolutionary bent as of late, transitioning from an almost impenetrable wall of noise into crafters of riffs with real might without sacrificing mood. I was curious to see how this newest creation would manifest itself, so go get your favorite goat to sacrifice and come take a walk through the fires with me.

How raw is raw? While older Black Cilice albums channel piercing treble tones through wind-tunnel cacophony, later works have tinkered with just a touch of varied emphasis. Previous LP Esoteric Atavism had decipherable leads which shimmered over the blast-heavy chords, and recent EP Tomb Emanations1 had a radical focus on emphasized doomy chord progressions in lieu of sheer assault. Votive Fire continues this slight change, returning to the more fog-and-moonlight murk of Transfixion of Spirits, but this time the band gives the listener a slightly brighter lantern. The drums have the bass kick cranked way up, giving every slowed rhythm a tribal pulse. The rest of the kit benefits too, with the expected speed in bits of “Into the Inner Temple” letting cymbals shine brightly in their fills and accents, somehow well articulated while still buried enough to offend people looking for something with the clarity of Necrophobic.

The net result of this production is an album that seeks to be meditative and soothing more than frightening and oppressive. The compositional approach of Votive Fire is four long songs that pick a key motif and then, ever so slightly, tweak and evolve the main riff through tempo changes and sustained chord pounding. It’s in these slower moments that the Fire shines the brightest; see the climactic slowdown ending “Released by Fire”, where the open space lets the drums run full scales while the looping chord progressions slowly build tension before exploding into another burst of speed without losing the established melancholy. That melancholy permeates the whole of Votive Fire. While Black Cilice could hardly be accused of ever making something uplifting, this particular album sidesteps the typical bleak claustrophobia with a vision much more inclined to introspection and self-reflection.

The one knock on Votive Fire is that, from a formula standpoint, each song follows roughly the same pattern: repetitive, hypnotic progressions under crystalline blasts evolving into a chunkier, punkier refrain before collapsing back into more anguished strums, all lashed forward by the glass-shattering vocals. With such a scant song selection, it may seem a little silly to try to find highlights. However, this is a headphone purist’s dream album, where the repetition of formula disguises the unique twists genuinely present, rewarding repeated listens in the right environment. “Vows Sworn for Centuries” hides a real gem of a riff in a shifting blast-beat instead of a slowdown, and “Deconstruction of All Realities” carries a main midtempo refrain which is both ritualistic and head-bangable. The production helps with this, somehow managing to mix everything to the bottom instead of to the front and letting the listener search for details articulated in the mire, rather than pushing everything forward and letting the disparate elements compete for attention. Consequently, this is a rare album that is raw af but somehow graceful to the ears, inviting the listener to dive deeper rather than partake in a display of auditory masochism.

Votive Fire manages to give itself an identity apart from previous Black Cilice releases, but where it can rank depends on what you’re looking for. It’s not as aggressive and riff-centric as Esoteric Atavism, not as punishingly raw as Summoning the Night, or as frighteningly atmospheric as Transfixion of Spirits. Instead, by fusing the riff game of the former into the misty comfort of the latter, Votive Fire transcends being a slab of aural abuse by way of offering moments with genuine, wistful beauty. That’s not a label I often get to associate with this genre, but I’m hardly disappointed. If you’re bored by the air-conditioner sound of your average one-man black metal, go light a candle and let the Votive Fire offer you a glimpse into something more, just beyond the veil.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Website: Album Bandcamp
Available Worldwide: May 1st, 2026

The Great Observer – Loss of Transcendence Review

There are few concepts in the Western tradition as misunderstood as that of “the death…
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There are few concepts in the Western tradition as misunderstood as that of “the death of God.” It is not a triumphant proclamation, nor a call for apathetic nihilism. What has been coined in recent online discourse as a ‘meaning crisis’ is only barely getting the point. The Loss of Transcendence—some universal, ultimate, mind-independent Truth and set of values—is a beginning, an event that should prompt critical thought and action and confrontation of a human condition that we sedate ourselves out of with belief in a higher power or sense and reason in the universe; hope; or the rescinding of responsibility to the idea that ‘nothing matters.12 The Great Observer seem to have done their homework for the most part, with their debut channeling their thrashy blackened death into a philosophical call to action that blends Existentialism with Stoicism and Epicureanism. Fresh on the scene and immediately going all-in in aggression and storytelling, what can The Great Observer give to us?

On the face of it, Loss of Transcendence is standard black/death/thrash, with a rotating emphasis on each of those three components. Sticking primarily to up-tempo, gritty riffing in a vein somewhere between Necrophobic, Tomb Mold, and Morbid Angel—though a less flashy iteration—The Great Observer do nonetheless find time to linger in some cavernousness that vaguely recalls Disembowelment. They further emphasise their mean streak with a pervasive vocal echo that adds to the grime of the throaty howls and is compounded during the many instances when such vocals are multi-tracked or delivered as a group. But not all of this energy is used in service of evil; there’s a strong anthemic side to these choruses and a jaunty bombast to many a beat. In many ways, it gives off the aura of classical extreme metal—back when Black Metal was an album title, and ugliness, speed, and aggression were the name of the game in a fundamentally different way to how they are now. And yet, under the layers of dirt and behind the malevolence lie small seeds of nuance, and it is to Loss of Transcendence’s great detriment that they remain scattered seeds alone.

Loss of Transcendence flirts with many things—intrigue, atmosphere, tenacity—but never quite wins any of them over. Riffs generally check boxes for pugnacity, but even at their most brutish and slick (“The Great Observer,” “Impervious Creation”), they have no edge, no force. At the worst end, guitar lines are entirely blunt thanks to nondescript, generic-sounding melodies and patterns (“Herald of Thorns,” “How Far the Faithless will Venture”). It’s unfortunate that all of the best guitar sits in the record’s back half, with “Impervious Creation” and “The Weight of Being Free” delivering shimmying, sliding shredding capable of winning over the harshest of critics, and the latter track featuring a genuinely beautiful, buttery smooth solo that combines everything great about grimy yet gorgeous extreme metal. The frequent use of group vocals, which sometimes creates an impressive miasma of harrowing calls (“Impervious Creation,” title track), falls awkwardly flat when delivered as rousing shouts (“Sentenced at High Noon,” “At The Summit of Consciousness,” “The Weight…”) thanks to the latter’s surprising corniness. The Great Observer also experiment in an exasperatingly random manner with distortion, with a liquid, Worm-adjacent effect appearing in random snatches never to develop (“Parénklisis (Fallen Into Existence),” “How Far…,” “The Weight…,” title track); and the worst part is that it’s good! The pace, generally high, is also stymied by not one but two synth-heavy instrumentals as “Parénklisis…” opens the album with a gravitas that never appears again, and “Ékstasis (The Lonesome Path)” needlessly presses pause for two minutes of ambience and whispering.

In reality, Loss of Transcendence feels frustratingly lukewarm. A mix that pushes guitars erratically between the far background and the very forefront, and a baffling decision3 to layer vocal tracks and reverb like lasagna over these riffs (“The Great Observer,” “Sentenced at High Noon,” “The Weight…,” title track) makes what could be decent blackened death sound almost poor. Almost the only time the guitars sound good is when they sound great, soloing in sudden clarity (“Sentenced…,” “Impervious Creation”) and with fluent expressiveness (“The Weight…,”), and these highlights appear exclusively in the second half. Given this, it becomes harder to forgive the swing of strangely upbeat gang shouts (“Sentenced…,” “Herald of Thorns”) and a brusque attitude to riff-writing that tends to shy away from character.

It’s always a shame when a concept I’m particularly interested in is delivered in mediocre form. Loss of Transcendence strikes as an album that would have had heads spinning and Bibles being reached for in the early 90s but now its grit cannot make up for its shortcomings. Failing to develop their best ideas and sidelining their assets far too often, The Great Observer still haven’t seen how to capitalise on their strengths, and Loss of Transcendence loses more than higher values as a result.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: BlackSeed Productions
Website: Bandcamp | Facebook
Releases Worldwide: April 30th, 2026

Graufar – Via Necropolis Review

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an…
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https://www.newsbeep.com/uk/538287/

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

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Thron – Vurias Review

By Grin Reaper

For the uninitiated, German quintet Thron peddles black metal in the vein of Dissection and Naglfar. They’ve had a sporadic history with AMG, where their self-titled debut and third outing Pilgrim earned very good marks, while sophomore album Abysmal never made it to the promo sump. In 2023, fourth record Dust put Thron on my radar with their seemingly effortless skill to fuse hooky leads and traditional black metal with snatches of black ‘n’ roll. After two-and-a-half years, Thron returns with Vurias, their fifth platter in a decade. In his review of Pilgrim, Eldritch Elitist noted that Thron continues to get better with each release. I agree that Dust improved on Pilgrim, but does the trend hold true for Vurias, and if so, is it enough to crack the barrier into greatness?

While black metal comprises the bedrock of Thron’s core sound, it never burdens them with tired genre tropes. Since their 2017 debut, Thron has artfully constructed slow-burn builds into ferocious second-wave hostility, bestowing their albums with a distilled dynamism uncommon in a genre largely known for direct, unencumbered aesthetics. The sophisticated approach to songwriting creates music bursting with lush layers and ample replayability. Thron imbues their melodies with a plaintive ache that touches the coldest and deadest of hearts, and their prowess in evoking open, desolate atmospheres and interweaving them with blast beats and trem picking collides like Wayfarer and Necrophobic. Vurias picks up where Dust left off, taking elements that distinguished Thron and advancing them with an even bolder vision.

Though still unmistakably Thron, Vurias incorporates new components for an even broader sonic footprint. The most noticeable enhancements are the expanded synth presence, courtesy of guitarist PVIII, and the addition of saxophone.1 Drummer and presumed cephalopod J (from Aard, Malphas, and Ghörnt, among others) pummels the skins with menacing single-mindedness (“A Paradox”) and exacting fills (“One Truth, One Light”), while also supplying texture with deft cymbal work (“Griefbearer”). PVIII’s and Ravendust’s guitars emote tones dulcet and cruel, painting profound soundscapes with dramatic depth. And though the axe-work is intricate, it’s rarely showy, making the solo from “Hubris’ Crown” a ripping good moment. Meanwhile, SXIII’s rumbling bass slinks near the bottom of the mix, unobtrusive yet complimenting the rest of the band (“The Metamorph’s Curse”). Through it all, Samca rasps with grating clarity, driving songs forward and commanding attention despite the whirling maelstrom of instrumental might. Thron excels at establishing an identity for each of Vurias’s tracks. From the Opethian retro synth in “Ungemach (Stilles Ende)” to the sultry sax swagger in “The Hunter and the Prey,” every song is punctuated with standout moments.

Vurias is a calculated slab of meloblack that thwarts the criticisms of albums past. Every instrument gleams with vibrance thanks to the balanced production and mix, which afford the requisite space for each part without drowning the others out. Besides Thron’s debut, this is their shortest album, clocking in at forty-seven minutes with nary a moment of bloat. I’ve listened through Vurias many times seeking gripes and derailers, and each time I come away compelled to appreciate it even more—to love it, even. The only thing holding Vurias back is that a couple of songs don’t reach the same exquisite heights as others. Rest assured, this is a minor quibble, as there are no bad or unessential songs. In fact, Thron has assembled a record that is more than the sum of its parts, boasting a streamlined cohesion that falls apart if the tracks are reordered or a select track is removed.2

It should come as no surprise to fans that Thron has written their best album yet, as every new record they release ascends to the top. Vurias, by the way, translates from Latin to English as ‘You Are Beautiful.’ The rationale behind the name is a mystery to me, but the album seethes with an inevitable beauty that transcends genre labels and deserves a spin from any fan of extreme metal. I’m dozens of listens in and continue to discover aspects I previously overlooked. That’s alright, though, because it reinforces the addictiveness that makes Vurias so accessible in the first place. In fact, I think I’ll spin it again.

Rating: Great!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 31st, 2025

#2025 #40 #Aard #BlackMetal #Dissection #GermanMetal #Ghornt #ListenableRecords #Malphas #MelodicBlackMetal #Naglfar #Necrophobic #Oct25 #Opeth #Review #Reviews #Thron #Vurias #Wayfarer

Korp – And Darker It Shall Become Review

One of my favorite things about metal is how there’s always some name you’ve never heard of who…
#NewsBeep #News #Music #2.5 #2025 #AndDarkerItShallBecome #AU #Australia #Entertainment #Entombed #Feral #GrindtoDeathRecords #Korp #Necrophobic #review #reviews #Sep25 #SwedishDeathMetal
https://www.newsbeep.com/au/130320/

Korp – And Darker It Shall Become Review

One of my favorite things about metal is how there’s always some name you’ve never heard of who…
#NewsBeep #News #Music #2.5 #2025 #AndDarkerItShallBecome #CA #Canada #Entertainment #Entombed #Feral #GrindtoDeathRecords #Korp #Necrophobic #review #reviews #Sep25 #SwedishDeathMetal
https://www.newsbeep.com/ca/131333/

Korp – And Darker It Shall Become Review

By Alekhines Gun

One of my favorite things about metal is how there’s always some name you’ve never heard of who helped kickstart (or at least evolve) our beloved genre. For every towering pillar we are all familiar with, there’s always a lesser heralded name toiling away in the shadows of history, making their unsung contributions to the development of sound and song. Today’s subject comes from Sweden under the moniker Korp (Swedish for “raven”), founded in the 90s and unleashing a trio of albums from ’97 to 2001 before calling it a day a few years later. They made a return in 2017, and a series of EPs in subsequent years have tenderized and marinated their comeback full-length, And Darker It Shall Become. I became interested in this release because the band marketed it as blackened Swedeath, a descriptor which is, for my ears, entirely unique. Blackened death in general is hardly new, but the idea of blackened Swedeath entices with the promises of a rare auditory savagery, so let’s see if this darkness is truly all-enveloping.

And Darker It Shall Become is first and foremost hook-centric. Every song comes with some sort of main motif to embed itself into your earballs, with flurries and blasts surrounding to compensate. Cuts like “Heavens Ablaze” come out with a bounce to get noggins joggin and toes tapping, with the familiar guitar tone setting in like a warm blanket. The trademark buzzsaws are understated compared to the modern likes of Feral or the Entombed torch bearers, but compositions alternate between mid-paced heft and accelerated assaults. Vocalist Erik Hillströms helps with the blackened part of the mixture with a higher shriek of a pitch, as opposed to the more traditional guttural barking. Leads follow much more blackened patterns, with an emphasized use of tremolo runs to make up melodic themes in Necrophobic style, with the somewhat thicker chords there to add to the heaviness and the heft. “Furious Tempest Rise” is a fine blueprint of the style, with chug-fixated verses segueing into a prolonged blackened melody for a catchy chorus. Everything is well constructed and ultimately reliable.

This dependability translates into solid performances across the board. Guitarists Kenny Olsson and Henke Westin serve up a nice collection of leads, with the melodies often taking the spotlight from the typical Swedeath chunk. Drummer Peter Andersson has an excellent sense of stylized restraint, switching up between double-bass attacks for riff emphasis, and snare blasting on occasion without an overreliance on vintage simple bass-and-snare beats. The majority of the songs devolve into mid-tempo bobbers with flourishes of speedy violence for variety, allowing him to show off a decent amount of beat-making skills. All songs are delivered with confidence, clearly bearing the mark of a band who know their trade and were around when it was being pushed into more extreme directions.

The problem with And Darker It Shall Become is that in its well-assembled reliability, it fails to transcend into anything approaching long-term memorability. The fusion of Swedeath and “blackened” ingredients has resulted in such a middle-of-the-road mixture that no real element raises its head in superiority and force. Opening track “Blood Upon the Throne” sounds like a real winner, with a flourish of an isolated melody set against a mean chord progression which emphasizes the presence of both song-writing styles, but such moments of interest are fleeting and rare. Korp have cobbled together a batch of songs which are enjoyable while they are on, and there’s certainly no individual cut that one could deem “bad.” And yet, there’s something lacking; a clear X factor to push the music forward. The production doesn’t help, sacrificing the typical buzzsaws for a gentle hum to emphasize the leads, yet never presenting one worthy of the blackened greats in their ear-piercing violations. Instead of this being excellent death metal with a blackened flair, or enticing black metal with death’s sense of brutality, And Darker It Shall Become is a painful compromise between disparaging styles where both elements end up simultaneously subservient to each other, rendering the album less than the sum of its parts.

Korp is comprised of competent musicians who know their way around crafting a mean tune, and yet I cannot help but leave And Darker It Shall Become underwhelmed. By fusing the two separate sounds of black and death into a very cohesive whole, the band has stripped away the essence of what makes both so riveting. This album lacks the bloodthirst and lethality of death metal, and also the barbarous evil of black metal, despite having the DNA strands of both flowing through its veins. Still, if you’re on the prowl for some fetching melodies and well-crafted, easily digested death, there are worse options out there.

Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Grind to Death Records
Websites: Official Facebook Page | Album Bandcamp
Releases Worldwide: September 5th, 2025

#25 #2025 #AndDarkerItShallBecome #Entombed #Feral #GrindToDeathRecords #Korp #Necrophobic #Review #Reviews #Sep25 #SwedishDeathMetal

The Infernal Deceit – The True Harmful Black Review

By Alekhines Gun

In a year that already looks to be filled with heady pomp and artistry, there’s something to be appreciated about some straightforwardness in back-to-basics. You don’t always need the ultra highbrow and thought-provoking violence – sometimes you just want to throw on an album and veg out. Such wants prompted my newest scourings of the promo pit for something more immediate, something to get fists pumping and bootie shaking with blackened frowns to be had by all. Answering this call is German duo The Infernal Deceit, a self-described black/death hybrid outfit who are dropping their sophomore effort The True Harmful Black this month. Sporting some admittedly cool artwork and an uncommonly legible logo, I dove in to see what harms await in the promised black.

When The Infernal Deceit put their best foot forward, what results is a fun, riff-centric album with bounce and groove to be found in fair measure. The True Harmful Black slings some congenial black metal of the punky, catchy stylings ala Spectral Wound or Hulder with production pulled straight from the book of modern death metal. This gives moments like the “everybody clap your hands” buildup of “The Great Seducer, The Greatest Deceiver (Dethroned)” and the sprawling melodies of “The Primordial Maze and The Crawling Chaos” some real bop-to-the-nose force without losing the requisite trebly underpinnings. Songs wrapped around neck bobbing hooks demand attention and imply greatness ahead, with no genuine surprises to be found, instead opting for a handful of rote but well-implemented ingredients.

Instead of targeting for all rage all day, The True Harmful Black opts for a melancholy approach as much as a riff-centric one. Vocalist “R” has a suitably gruff bark, straddling the overlap between a blackened shriek and a deathly growl without neatly falling into either category. His somewhat monotone delivery helps the musical presentation, as he sounds at home whether the music blasts or crawls. Multi-instrumentalist “C” offers up a platter of songs which alternate between the expected bpm pushing swipes at Necrophobic melodies while frequently bringing the tempo to a much more somber, mood-drenched drawl. This saves the album from becoming too homogenous despite a bit of an overly familiar palate of riffs and lead stylings. Clean acoustics also litter the album, both as extra instrumentation as well as interlude and closer, offering up a nice flow and easy listening.

The Infernal Deceit peddle an enjoyable sound, but the album doesn’t seek to be much more than that. The constant changing of tempo eventually works against the band, particularly in the back half of the album. The True Harmful Black is at its strongest when bringing the pain (“In the Wilderness of Pernicious Black”), but its quest for atmospheric theatrics robs the riffs of much of their staying power. The clean acoustics are pretty when implemented as instrumental flourishes, but focusing on them robs the album of momentum. Combining that with the aforementioned frequent brake pumping leads to an album that doesn’t flow as much as it stutters. This is a bit disappointing because individual moments hint at some truly good stuff waiting to be unearthed; solos in particular rip and shred with delightful melodic prowess. An album with a filthier mix, more consistent strength in riffs, or some more extremity in the disparaging tempos would create a Deceit that could be Infernal indeed.

The True Harmful Black is a pleasant album, just not a remarkable one. There’s nothing wrong with that; not every album needs to be an earth-heaving, forest-felling, giant slaying leviathan of artistic intent. The Infernal Deceit are a competent pair who can craft solid moments and good melodies, but are still on the prowl for that x factor which will launch them further to stand shoulder to shoulder with their peers. I believe they have better in them, and will certainly check out what their next offering holds for us. For the moment, while certainly not challenging for any end-of-year placements, listeners on the quest for a quick black metal fix could do far worse, and might find some select moments of real harm waiting for them in the depicted black maze above.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: Official Bandcamp | Official Facebook
Releases Worldwide: April 11th, 2025

#25 #2025 #Apr25 #BlackMetal #DeathMetal #GermanMetal #Hulder #Necrophobic #PersonalRecords #Review #Reviews #SpectralWound #TheInfernalDeceit #TheTrueHarmfulBlack

NECROPHOBIC (Suècia) presenta nou single: "Nordanvind" #Necrophobic #DeathMetal #BlackMetal #Abril2025 #Suècia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

Heavy Moves Heavy 2024 – AMG’s Ultimate Workout Playlist

By Ferox

Before I was press-ganged into the Skull Pit, I, Ferox, began curating an exercise playlist named Heavy Moves Heavy. For a decade, I alone reaped the benefits of this creation–many were the hours spent preening aboard my Squat Yacht, mixing oils so that I could marvel at the glistening gainz unlocked by the List. My indentured servitude is your good fortune, because a new and improved version of the Heavy Moves Heavy playlist is now available to all readers of AMG in good standing.1 The lifters among us have spent countless hours in the Exercise Oubliette testing these songs for tensile strength and ideological purity. Enjoy–but don’t listen if you are being screened for PEDs in the near future. This music will cause your free testosterone levels to skyrocket even as it adds length and sheen to your back pelt.

The AMG Iron Movers Collective is a man down this year, as the crush of Listurnalia duties prevented Steel Druhm from forging a third consecutive contribution. The four remaining protein ponies on staff (myself, Kenstrosity, Thus Spoke, and Holdeneye) dug deeper into our Codices of Suffering to bring you a list of sufficient girth. Here are the songs released in 2024 that dominated our respective workouts. The resulting playlist is appended to this article. Play it straight through or set it to shuffle; HMH is designed to work either way. From our oubliette to yours, may these battle-hardened tracks fuel your gains in the new year.

There is also an intruder this time around, as Dolphin Whisperer drops by semi-invited to share his favorite tracks suitable for The Things That Dolph Does. That playlist, suitable for blood pressure-reducing pursuits off all kinds, is compiled separately.

Ferox Snorts His Pre-Workout Powder :

“Drill the Skull” // Necrot (Lifeless Birth) – Kicking things off with one of the year’s premiere bangers. The implied subject song title is a staple of my workout playlists, because it sounds like someone’s giving me orders. (You) “Drill the Skull”! I will! I will drill the skull.

“God Slayer” // Vredehammer (God Slayer) – Stand tall. Stand proud. Stand strong. Wage war. Lots of implied subject goodness in this one. Vredehammer’s latest may have been a mild disappointment, but it did throw off the Workout Song o’the Year.

“Numidian Knowledge” // Necrowretch (Swords of Daijal) – Numidian communities cultivated cereals such as wheat and barley, and legumes such as beans, peas, and lentils. There’s nothing inherently sinister about that body of knowledge, but this Necrowretch ripper will make you feel like you just consummated a black bargain in exchange for one final rep.

“Into the Court of Yanluowang” // Ripped to Shreds (Sanshi) – The opener to this killer slab beats you up with five minutes of punk-inflected death metal before rewarding you with the Guitar Solo o’the Year.

“The Way of Decay” // Sentient Horror (In Service of the Dead) – Dropping in some 3.0 Swedeath in honor of Absent Geezer Steel Druhm. I personally thought he underrated the new one from Jersey’s Sentient Horror, which kicks off with this scabby statement of purpose.

“Aristocratic Suicidal Black Metal” // Spectral Wound (Songs of Blood and Mire) – Early Bathory remains a stalwart of the original Heavy Moves Heavy playlist. “A Fine Day to Die” is one of a dozen or so songs that have never rotated off the List in its twelve or so years of existence. Ferox Song o’the Year “Aristocratic Suicidal Black Metal” succeeds bigly in carrying Quorthon’s torch into new battles.

“Hordes of the Horned God” // Hellbutcher (Hellbutcher) – The saliva-flecked excretions of Nifelheim and Impaled Nazarene have likewise graced the original Heavy Moves Heavy time and again. I wish there was a song called “Hellbutcher” on Hellbutcher’s Hellbutcher, but this supergroup led by Nifelheim’s front man answers the bell in every other way on their debut.

“Infernal Bust” // Demiser (Slave to the Scythe) – This song, near as I can tell, is about having it off with a demon. When you get swole, your opportunities to fuck demons, babadooks, and wendigos grow right along with your muscles–so this is included to goose you along.

“Wormridden Torso” // Stenched (Purulence Gushing from the Grave) – Adrian from Stenched has crafted a guitar tone most unpleasant and motivating. Finish your set so you’re closer to the end of the song and you can get it out of your earholes.

“Disattachment of a Prophylactic in the Brain” // Undeath (More Insane) – Here’s a jolt of caffeine to get you through the muddy middle of your workout. This track gambols madly about, slapping you in the face to wake you from your Stenched-coma.

“Second Demon” // Void Witch (Horripilating Presence) – The Void Witch sound fires on all cylinders here, and so will you as you listen to this track. The grunge-descended guitar solo toward the end of track is one of 2024’s great moments.

“Mammoth’s Hand” // The Black Dahlia Murder (Servitude) – This cut from the The Black Dahlia Murder’s worthy new effort gives me those classic Deflorate-era vibes. I listened to that album while doing my strength training for a martial arts tournament, and “Mammoth’s Hand” feels like it could slide in between “Black Valor” and “Necropolis.”

Kenstrosity Bursts Through His Own Workout Gear:

“Pain Enduring” // Replicant (Infinite Mortality) – They say “no pain, no gain.” Or at least they used to. Some assert this to be a debunked myth, but regardless, I live to feel the gainz. This absolute blunderbuss of groove and riff mastery by Replicant ensures progressive overload and personal bests from every movement. 2

“Xetinal Artifice” // Karst (Eclipsed Beneath Umbral Divine) – You know your workout is going to leave you a trembling puddle on the ground when your trainer walks you into the crustiest, rustiest facility imaginable. Thusly, Karst’s “Xetinal Artifice” leaves me a trembling puddle on the ground after a brutal session of crusty death metal riffs.

“Pure Adrenaline Hard-On” // Scumbag (Homicide Cult) – Some people rely on preworkout and supplements to energize them before a hard workout. I don’t need that. I have the hyper-effective hype machine that is Scumbag’s “Pure Adrenaline Hard-On.” Everything you need is right in the name!

“Sturmtrupp” // Kanonenfieber (Die Urkatastrophe) – One day per week (sometimes two if I’m feeling frisky), I engage in high-intensity or high-endurance cardio training. That means speed. That means form. That means rhythm. That means something to keep me motivated and focused. Nothing beats Kanonenfieber’s “Sturptrupp” for that exact regimen.

“Leviathan” // Keres (Homo Homini Lupus) – Sometimes the only way to get me through my workout is to find my inner animal and let it rampage through the last few sets. The earth-shattering stomp of Keres’ “Leviathan” is the perfect elixir to entice that inner beast into meatspace.

“Paths of Visceral Fears” // Noxis (Violence Inherent in the System) – Fear is the enemy of gainz. However, the only way past fear is through fear. That’s where Noxis’ “Paths of Visceral Fears” and its multitudinous motivating riffs come into play. How can you be scared of that crazy heavy lift when you’ve got Noxis spotting you?

“Devil in the Basement” // Unhallowed Deliverance (Of Spectres and Strife) – The sheer heft of this track alone makes all of my personal bests look like warmups. That gives me something to strive for! Between immense grooves, crushing riffs, and a relentless pace, Unhallowed Deliverance’s “Devil in the Basement” urges me to my peak form.

“Lust for the Severed Head” // Fit for an Autopsy (The Nothing That Is) – Deathcore is always a great source of meatheaded riffs. Fit for an Autopsy pull a rare card, however, with “Lust for the Severed Head.” Seamlessly blending muscular grooves with a technical prowess rarefied, “Lust for the Severed Head” inspires me to push that final rep past failure every time.

“Of Pillars and Trees” // Brodequin (Harbinger of Woe) – You’d think material like this would be too dense to serve gym hours well. However, Brodequin’s “Of Pillars and Trees” swaggers so confidently into the land of steel and sweat that one can’t help but follow it directly to the bench.

“In Your Guts” // Glassbone (Deaf to Suffering) – Slam is probably the best vehicle for pacing and focus in the weight room. Nothing gives me a better metronome to maximize my breathing, and perfect my form. The insanely gritty, nasty, hardcore-twisted ways of Glassbone’s “In Your Guts” ensures that I don’t deviate from the ideal path to GAINZ.

“Mucus, Phlegm and Bile” // Stenched (Prurulence Gushing from the Coffin) – When you’re lifting heavy, the more viscous and vile the tunes, the greater the gainz. Enter Stenched’s “Mucus, Phlegm and Bile.” Boasting marvellously heavy tones and spans of d-beat expulsions perfect for high intensity training, Stenched will help you shatter your PRs every time.

“Plant-Based Anatomy” // Flaaghra (Plant-Based Anatomy) – In my lifelong journey towards tree-trunk legs, it pays to have tunes that embody the stalwart strength of the mighty sequoia to keep me motivated. And so, when leg day #2 comes around in my weekly routine, I jam “Plant-Based Anatomy,” Flaaghra’s brutal slam stomping set at a perfect pace for brutal leg routines.

Holdeneye Practices Radical Body Acceptance:

“Brotherhood of Sleep” // Aborted (Vault of Horrors) – Nothing, I repeat nothing, is more important to long-term gainz development than sleep. I don’t know what this universe-crushing song is actually about, but I like to imagine it promoting a fraternity of people who value getting to bed at a decent hour.

“We Slither” // Unhallowed Deliverance (Of Spectres and Strife) – The proper tunage is essential if you’re going to transform your garter snake arms into pythons, and this particular track never fails to engorge each and every one of my serpentine members.

“Berserkir” // Brothers of Metal (Fimbulvinter) – Ah, the obligatory inclusion of a song about Vikings going ape-shit. Songs about raging Norsepeople always add +1 to my Strength saving throws, and this one has had me on a roll lately.

“Fall of the Leaf” // Brodequin (Harbinger of Woe) – Don’t forget to grow those glutes! The cover model on Harbinger of Fate is demonstrating just how brutal the abductor machine can be (notice the ropes for added resistance!), but having a superior posterior is always worth the effort.

“Shadows of the Brightest Night” // Necrophobic (In the Twilight Grey) – Groove is the secret to just about every great gym song, and this might be Necrophobic’s grooviest tune yet. Its shadows have been brightening the darkest corners of my garage gym all year long.

“La Chiave Del Mio Amor” // Keygen Church (Nel Name Del Codice) – Organ music sets my organ juices to flowing, and lifting to this Bachian banger always leaves my body feeling Baroque-en in the best way possible.

“The Temple Fires” // Pneuma Hagion (From Beyond) – I’d like to think that I treat my body like a temple, but I routinely offer more calories unto my inner altar than its fires can consume. Perma-bulking isn’t a choice, it’s a lifestyle!

“Weaponized Loss” // Vitriol (Suffer & Become) – But, if I am ever going to end my perma-bulk, it will take an enormous amount of motivation, and this militant beatdown might be just what I need to brave the no man’s land that is caloric deficit.

“Monsterslayer” // Nemedian Chronicles (The Savage Sword) – There’s not a person on Earth who hasn’t imagined themselves to be Conan the Barbarian while attempting to build thick muscles and sinews in the gym, and this little tune recounts the Cimmerian’s physical attributes while laying down a magnificent, martial metal march. I can’t tell if this song makes me feel more like a monster or a monster slayer, but either way, I win.

“I Am the Path” // Hell:on (Shaman) – Fitness is a multi-faceted discipline, and we each have our own strengths and stumbling blocks. It might take help from a trainer, a medical doctor, a psychological professional, a training partner, or a support group, but remember that you are the path to your own health, and there is no shame in taking steps to get the help you need to be successful. You are worth it!

“Shadow of Evil” // Oxygen Destroyer (Guardian of the Universe) – As I walk around my garage gym between sets while nursing an enormous pump, I like to picture myself as a gigantic monster, laying waste to all that is in my path. Lord Kaiju and Co. lay down a performance here that makes me feel downright radioactive.

“Sword of a Thousand Truths” // Ironflame (Kingdom Torn Asunder) – This isn’t the first plodding Ironflame chugfest to grace one of my Heavy Moves Heavy playlists, and I sure hope it’s not the last. Bonus points for the #glutegoals on the cover.

Thus Spoke and the Smiting of the Half-Depth Heretics:

“Dragon” // Exocrine (Legend) – The lead melody in this just does something to me—the way it fades in at the beginning, the way it comes back, the way it plays off the speedy, techy goodness of the rest of the track. Yes.

“A Body for a Body” // To the Grave, Connor Dickson, Siantell Johns (Everyone’s A Murderer) – Forced to choose on a record I could have filled this list with, this one came out on top. Furious, groovy, face-meltingly heavy, irresistible; “A body for a body for a body, MOTHERFUCKKERRR!”

“Suffocate (feat. Poppy)” // Knocked Loose, Poppy (You Won’t Go Before You’re Supposed To) – Everything about this is just perfect in the gym. Disagree? “SHUT YOUR LYING MOUTH!” Thank you, Poppy.

“Solus” // Devenial Verdict (Blessing of Despair) – One of my favourite songs of the year in general, this one got me through many, many sets. Just, like, on repeat. Particularly the last part. Ugh.

“Beneath Ashen Skies” // Vale of Pnath (Between the World’s of Life and Death) – I discovered in the latter half of the year that I severely underrated this album, because I realised I’d been sticking it on again and again in the gym, automatically, and it was working brilliantly. The little dancy circular melodies in this are *chef’s kiss*.

“Der Maulwurf” // Kanonenfieber (Die Urkatastrophe) – Works equally well for voluntarily moving heavy shit as it does for digging trenches. With its steady rhythm and big anthemic chorus in your ears, nothing can stand in your way.

“Shiver” // Teeth (The Will of Hate) – Already having the ideal underlying tempo, sounding so insidiously mean and creepy takes this song beyond a stomp and into anabolic territory. Also, fantastic name.

“Voidwomb” // Glacial Tomb (Lightless Expanse) – Kind of slow and menacing (a good thing) for the majority, its slide into the best and agonisingly shortest guitar solo of the year is a pure jolt of adrenaline. Another one that gets put on repeat.

“Matricide 8.21” // Fleshgod Apocalypse (Opera) – Yeah, I know, ‘what the fuck(?!),’ I’m not even a fan of these guys, but seriously, this thing is motivating as hell. Just give it a chance.

“To See Death Just Once // Ulcerate (Cutting the Throat of God) – Not exactly what you’d traditionally expect to see on one of these, but I love it so much I don’t care. And the same applies while actually in the gym: if you lift to what you love, things will (usually) go well.

“Twelve Moons in Hell” // Spectral Wound (Songs of Blood and Mire) – Long and short: this is just a banger. The day I realised that new-second-wave black metal was great for lifting was a good day and I’d like to share this with you.

“Concrete Crypt” // Resin Tomb (Cerebral Purgatory) – A concrete crypt is now what I’m definitely going to call the thing where you totally bin yourself by going a bit too hard on one lift—”I’m in the concrete crypt now.” Ok obviously, I’m absolutely not going to do that, but it is some great alliteration, and a stomp to boot.

Dolph is… fucking meditating? Who let this piece in???

“Rose” // Kashiwa Daisuke (TITAN) – As the engorged fibers feel the tickle of contraction scamper in backflow,3 glitching, bass-loaded synth throbs arrive massage the ears and spread a parasympathetic wave up the spine. From root we rise, in pulse we are grounded. In our growing safety we inhale the chiming of dancing piano above it all. Allow Kashiwa Daisuke’s vibrancy help to shake away the growing lactic waste in your weary body.

“Floating” // Maria Chiara Argirò (Closer) – Moving from a place of rest to a place of gentle movement, a heartbeat steady kick thumps against an ethereal call to the flow of water. Though cool to the touch and electronic in construction, an analog warmth and hum bustles under the surface erupting in a solo trumpet’s cry. Sing with it, reach your arms high. Your voice has power.

“衍生 Capture and Elongate (Serenity)” // OU (蘇醒 II: Frailty) – Your power in calm grows—and with growth we seek order. But order is hard to find in the shifting rhythms of OU’s poly-play. Follow the voice, maybe with your own. Feel it resonate in your chest as you again find deeper inhales in the space of serenity, powerful exhales in its crashing volume swells.

“WHO KNOWS ?” // toe (NOW I SEE THE LIGHT) – The kindling of your gentleness catches fire—a brilliant light—as toe serves increasingly bright guitar patterns and fragile vocal harmonies to sweep your worries away. It can be uneasy standing proudly beside beauty like this. Embrace it. You are worthy. Spread your arms wide and expand alongside airy post rock crescendos.

“あなたのそばで (Beside You)” // Yunowa (Phantom) – Every light exists with a shadow. Yunowa has a shadow too, a dream like a sinking ship. But struggle, heartache—acceptance of and living through—these are all part of life. Rub your hands together. Place one hand over your heart, and the other over that hand. Close your eyes and rest your shoulders as a languished guitar solo screams catharsis.

“Raat Ki Rani” // Arooj Aftab (Night Reign) – A heart that has wanted and waited will bloom like raat ki rani, the jasmine of the night. Only in the hiding sun can you filled your lungs with its wonder. Breathe deeply as Arooj Aftab’s sultry, modulated croon carries you like a hidden fragrance with gentleness of a healing love.

“Eg Veit I Himmelrik Ei Borg” // Sylvaine (Eg Er Framand) The night remains ominous despite its treasures. But the dark cannot exist without the light. Let Sylvaine’s ode to the comfort of this duality, her siren salutation against plaintive guitar lines and horn-call synths, find the peace of the moment. Reach your chin high with relaxed shoulders to feel it’s spacious and resonant vibrations travel from ear to mind.

“Reflections of God” // Jaubi (A Sound Heart) – Stepping away from darkness requires travel still through more darkness, a journey which requires devotion. Jaubi expresses their devotion, an assurance that the now leads to a better place, through relentless piano harmonies, sighing sarangi calls, and a continual march toward resolution. Visualizing the destination will slowly reveal its path. You must walk it. Keep breathing.

“We Can’t See It, but It’s There” // Pat Metheny (Moondial) For as long as Pat Metheny has been questing in delicate guitar harmony, he has not yet either reached the end. I know it’s there. You know it’s there. He knows it’s there. One day, waiting for all of us, it’s there. But in these minutes we spend with Mr. Metheny, in these minutes you spend in repetitious quests for solace, the answer remains there. Somewhere. With practice, a trialed body and mind, we’ll find it. Keep searching.

“Hytta” // Kalandra (A Frame of Mind) – All roads lead us home. “Hytta” is not just a home but a state, a vision of comfort, of opening doors, of settling dishes, of chirping birds—a stream trickles in the distance. “Hytta” is the destination revealed through the honing of physical faculties and the unifying of your wandering thoughts. Today you are here. Your sculpted being, your gentle breath, you’ve unlocked the gates. Enjoy it in this moment because you may not be here tomorrow. And that’s ok.4

#2024 #Aborted #AroojAftab #Brodequin #BrothersOfMetal #ConnorDickson #Demiser #DevenialVerdict #Exocrine #FitForAnAutopsy #flaaghra #FleshgodApocalypse #GlacialTomb #Glassbone #HeavyMovesHeavy #HellOn #Hellbutcher #Ironflame #Jaubi #Kalandra #Kanonenfeiber #Karst #KASHIWADaisuke #Keres #KeygenChurch #KnockedLoose #MartaChiaraArgirò #Necrophobic #Necrot #Necrowretch #NemedianChronicles #Noxis #OU #OxygenDestroyer #PatMetheny #PneumaHagion #Replicant #ResinTomb #RippedToShreds #Scumbag #SentientHorror #SiantellJohns #SpectralWound #Stenched #Sylvaine #Teeth #TheBlackDahliaMurder #ToTheGrave #toe #Ulcerate #Undeath #UnhallowedDeliverance #ValeOfPnath #Vitriol #VoidWitch #Vredehammer #Yunowa

Holdeneye’s Top Ten(ish) of 2024

By Holdeneye

This was a strange year for old Holdeneye, characterized by relative outer peace and significant inner turmoil. Peruse my last few lists, and you’ll see that I’ve been on a mental health journey for some time now, and this year has honestly been the toughest nut for me to crack. I’ve spent the last few years changing my external circumstances to set me up for interior success, and that has certainly helped. But I’m starting to come to grips with the fact that my choice to follow a career as a first responder, while it has benefitted my family and myself enormously, has come at a cost. Combine with that the absurdities of modern society, and the anxieties and pressures of parenting children, and I’ve been finding my fortitude to be mightily tested. I’m afraid I’m come down with a moderate-to-severe case of cynicism.

George Carlin once said, ‘Inside every cynical person is a disappointed idealist,’ and I strongly agree. I’m by nature a pretty soft-hearted, idealistic person, but with high ideals come high expectations—and high expectations are basically impossible to meet. I spent much of this year (years, really) embracing my newfound cynicism because it seemed easier and less painful than having my impossibly high expectations disappointed again and again. Fortunately, I stumbled upon a book called Hope for Cynics by Jamil Zaki, and it has been an amazing tool for recalibrating my perspective on life. The book proves—scientifically—that Samwise Gamgee was correct when he said, ‘There’s some good in this world, Mr. Frodo, and it’s worth fighting for.’ I highly recommend that anyone and everyone read it—it’s exactly what the world needs to hear right now.

Cynicism is not conducive to creative work, so my 2024 AMG output was abysmal. Instead of listening to new albums, I listened to my Manowar playlist over and over and over. At one point, I finally pulled the trigger and told Steel I needed to step away. I felt good about that decision, that is until my friend Kenstrosity had his home destroyed by a hurricane. The way the Angry Metal community banded together to support Ken broke through the hard crust that had been forming around my tender heart. The staff, and especially you, the readers, jumped at the chance to help, and it was incredibly inspiring—and it once again proved just how wholesome and unique this little internet community can be. I’m resolving to stay involved, producing whatever content I can make time for, but more importantly, to just be around. When times are hard, I tend to withdraw, but I’m finding that those are the times when I really need to fight to stay engaged.

Thanks for your patience and for your even-handed, if brutal, leadership, Steel. Thanks to everyone who makes this place so special; you are all agents in the war on cynicism. Special shoutouts to Dr. Wvrm, Ferox, and Doom_et_Al for hanging out with me in person—extra special to Doomy for letting me crash at his place—and to Crispy Hooligan (Rest In Retirement) for recognizing and chatting with me at a Judas Priest show. It was awesome to take my AMG community into three dimensions this year.

Well, you’ve heard enough from this gloomy goose! Rest assured that I’m looking to 2025 with hope and a healthy skepticism instead of my usual oscillation between idealism and cynicism. Onto the tunes!

#ish. Judas Priest // Invincible Shield – This one comes as a bit of a shock to me. When it first released, I was pretty indifferent. I really enjoyed the previous album Firepower, but I didn’t feel a strong need to hear or enjoy a new Judas Priest album in 2024. I have my ten-year-old son to thank for changing my mind. While I was driving him to school one day, he randomly said, ‘Dad, my favorite band is Imagine Dragons, but my favorite music is heavy metal.’ I knew I had to capitalize on this make-or-break moment, so as soon as I got home, I bought two pre-sale tickets to the Invincible Shield tour. Seeing these legends with my boy was a core memory that I will always treasure, and while I prepped for the show, I began to see Invincible Shield for what it really is: one more gift from the metal gods of old, one that is far more energetic and ruthless than it has any right to be. Sample: “Panic Attack”

#10. Necrophobic // In the Twilight Grey – As someone who gained their black metal fangs because of Necrophobic’s modern-day sound, I understand that I’m unfairly biased to enjoy everything they’re putting out these days. But biased or not, I absolutely dig what Necrophobic have done on In the Twilight Grey. They’ve taken just about every shade of black metal available and incorporated a bit of this one and a bit of that one to construct a varied collage of blackened brutality. The guitar work on this record is exemplary, and it speaks to my classic heavy metal heart with lead after lead that could fit on just about any Priest album. I didn’t listen to much black metal this year, and this album is partially to blame. In the Twilight Grey arrived early on and essentially sated my appetite for blackened platters. Sample: “Shadows of the Brightest Night”

#9. Ironflame // Kingdom Torn Asunder – Consistency is an underrated and often maligned trait when it comes to music, but it’s something I really value. I love when every day is just about the same as the last. I can eat the same meal three times per day, no problem. As I mentioned above, I can listen to the same Manowar playlist on repeat for months at a time. I like consistency because I like to know what I’m getting. Ironflame has become my poster child for consistency when it comes to modern traditional metal, and I while I may know exactly what an Ironflame record is going to sound like before I ever play it, I take an enormous amount of joy finding my preconceived notions to be 100% accurate. Andrew d’Cagna can write killer metal anthems in his sleep, and Kingdom Torn Asunder is full of them. Sample: “Sword of a Thousand Truths”

#8. Vitriol // Suffer & Become – This album definitely tested the limits of my musical taste. Vitriol’s brand of death metal is so punishing that it becomes overwhelming for me, but Suffer & Become includes just enough beauty to let the beast shine by contrast. Full disclosure: I have to be in the right mood for this album. It is so dense, so challenging, so heavy, that it makes me uncomfortable. Without relying on the overt groove or melody that usually anchors the music I enjoy, Suffer & Become manages to hook me through pure violence, leaving me just a few fleeting moments to pop my ahead above the surface to grab a quick breath before dragging me back below. Released back in January, my response to this record was the first indication that my taste (and my list) in 2024 would be trending in a brutal direction. Sample: “The Flowers of Sadism”

#7. Oxygen Destroyer // Guardian of the Universe – As I went to wheel my thrash can to the street, I wondered if it would even be worth the trip. While I didn’t listen to all that many albums in total this year, I had an especially noteworthy dearth of thrash albums that caught my attention. Fortunately, the one album that did end up in my thrash can filled it to the point of overflowing. Oxygen Destroyer has received honorable mention on my year-end list before, but this time around, the band has leveled up in so many ways that it was impossible for me not to put Guardian of the Universe on my list proper. Where previous albums were more of an even death/thrash mix, this one is an absolute thrashterpiece, and every single song has at least one earworm riff that refuses to leave my brain. Lord Kaiju’s utterly pissed-off vocals are the perfect match for what the rest of the band is doing musically, and with one forthcoming exception, there was no better half-hour set of music with which to torture myself this year. Sample: “Banishing the Iris of Sempiternal Tenebrosity”

#6. Aborted // Vault of Horrors – I’m a late-stage Aborted adopter. Vault of Horrors was my first exposure to the band, and the uniqueness of this album is probably responsible for why I’ve come to enjoy the band so much. I was at first put off by all the guest vocalists, but then I remembered that I love hardcore vocals. Aborted’s mixture of brutal death and deathcore is already potent, but when a host of talented hardcore and metal vocalists add their voices to the mix, the result is an adrenaline-pumping, testosterone-boosting beatdown. One of my favorite metal moments of the year goes to witnessing many of these cuts live in the mighty presence of my Angry Metal brothers Ferox and Doom_et_Al. Vault of Horrors has been one of my gym mainstays since its release, and that quality alone is nearly enough to boost an album onto my Top Ten(ish). Sample: “Death Cult”

#5. Unhallowed Deliverance // Of Spectres and Strife – I honestly can’t remember what review it was for, but one of our lovely readers suggested this album in the comments, and I haven’t been able to stop listening to it. Unhallowed Deliverance is another band that mixes brutal death metal and deathcore, but where Aborted goes for the throat nearly 100% of the time, these guys throw in a pinch of atmosphere and a boatload of technicality to create an insanely strong, multifaceted sound. Frontman Arthur Haltrich complements his standard death/deathcore growls and shrieks with some of the gnarliest belches, gurgles, and verbal flatulence I’ve ever heard, giving Of Spectres and Strife’s sonic texture even more depth that its already intricate music provides. The record even includes a collaboration with Kenneth Copeland, the artist responsible for my 2020 Song o’ the Year. Sample: “Treatise on the Lowest Form of Man”

#4. Nemedian Chronicles // The Savage Sword – It’s been many months since Iceberg grossly underrated this absolute gem, and it is a gem that I’ve clutched as greedily as if I’d personally plucked it from a cursed dungeon’s treasure hoard ever since. When I first sampled The Savage Sword, I was intimidated by its 70-minute length, but it took little more than a single listen for me to realize that this album is incredibly well-executed from start to finish. Yes, Nemedian Chronicles made the bold choice to start the record with what are essentially two intro tracks, but they are so epic and genuine that they act as a pair of tentacles, forcefully drawing me into the concept’s Hyborian world and setting me up to enjoy of deep immersion. The rest of the album is a masterclass on how to properly deliver epic heavy and power metal goods, and it is frankly the best Blind Guardian album released since the 90s. Sample: “The Savage Sword”

#3. Brodequin // Harbinger of Woe – More like Harbinger of Whoa, amirite? I could probably sum this album up with just that single word ‘whoa,’ but Steel would most likely force me to sit on that old-timey chair on the cover art if I didn’t elaborate. This was another comment section find, and I’ll be damned if it didn’t grab me almost immediately—a rare occurrence for music of this level of intensity. The production on this album raises it so far above much of its comparable competition because it so perfectly balances the material’s speed and chaos with an overwhelmingly tangible heft. Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio, so I’d like to think that this album has made me a healthier person in 2024. Brodequin, or Brother Quinn as I like to refer to them, can take comfort in putting out one of the finest brutal death metal albums in a year filled with quality brutal death metal albums. Sample: “Of Pillars and Trees”

#2. Keygen Church // Nel Nome Del Codice – In what is perhaps my greatest musical surprise of the year, this album instantly bewitched me body and soul, and I love, I love, I love it, and wish from this day forth never to be parted from it. I’ve enjoyed some of Victor Love’s work in Master Boot Record, but as someone who is drawn to liturgical expressions of spirituality, Keygen Church’s inclusion of Baroque organs and choirs absolutely godsmacked me from moment one. If you asked me to name the greatest song of all time in any genre, I’d probably go with Bach’s “Toccata and Fugue in D Minor,” so it should come as no surprise that Nel Nome Del Codice feels as if it were tailormade to tickle me right in the pipe organs. I have no idea how music like this is produced, but my hat is off to Love for creating such a powerful aural experience. Sample: “Sulla Via Della Gloria”

#1. Hell:on // Shaman – When I dropped a 4.5 on this back in May, I was pretty confident that nothing else would be able to top it, and since I’m almost always right, I was right, of course. Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight, and it’s a feeling that has yet to get old. The band went all-in on the inclusion of their Ukrainian cultural elements within their music this time around, and it was an incredible success. In a year where death metal made up the majority of my top records, Shaman had to fight to keep its place upon the top of the heap, but no other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace. The textures offered here both exhilarate me and help me into a meditative state, and the resulting empowerment has been a Godsend to me. Sample: “What Steppes Dream About”

Honorable Mentions

• Brothers of Metal // Fimbulvinter
• Pneuma Hagion // From Beyond

Olde Record (and Hot Take) o’ the Year

Manowar // Warriors of the World – When I wasn’t listening to new music in 2024—which was really, really often—I was probably listening to Manowar. I listened to them so much, in fact, that my streaming platform placed me within the band’s top 0.1% of listeners worldwide. Warriors of the World was the first true heavy metal album that I ever purchased, and so many of its songs remain personal favorites to this very day. As I ravaged the band’s discography this year, I came to the realization that Manowar circa 2002 is the absolute highwater mark for heavy music. This album has some weird inclusions that make it feel somewhat unbalanced and goofy at times, but I’m convinced that if the band had cut a bit of the fluff and added in the two cuts from the Dawn of Battle EP, Warriors of the World would have been a 5.0 and the greatest metal album of all time. Disagree? Then you’re not into metal, and you are not my friend. Just kidding. We can still be friends, poser!

Disappointment o’ the Year

In Aphelion // Reaperdawn – After In Aphelion’s debut Moribund pummeled its way into the top tier of my Top Ten(ish) of 2022, I had huge expectations for its follow-up, Reaperdawn. Whether it is because several of the band’s members released a similar-sounding and stronger album with their main project Necrophobic or because these songs just don’t match up to the debut, this one just didn’t do it for me. It has a nice blackened aesthetic and some quality moments and performances, but it lacks the edge that made Moribund feel so genuinely dangerous. I hope to hear something new from these guys in the not-so-distant future, because I know they’re capable of going for my throat.

Song o’ the Year

Hell:on // “I Am the Path” – This song resonated with me from the very first time I heard it. The way the song swings back and forth between brutal death metal and ritualistic groove strikes the perfect balance for me, and the folk instrumentation adds even more layers to the experience. I can’t tell you how many times I’ve listened to “I Am the Path” this year, but just about every time I do, I feel my eyes wanting to roll into the back of my head so I can commune with the primal spirits of the earth. The track’s title and chorus have become something of a personal mantra for me as I’ve struggled to find inner harmony this year. It reminds me that I can make all the positive external changes in the world, but if I really seek health and joy, I must walk that most challenging of all paths: the path within.

#2024 #Aborted #BlogPosts #Brodequin #BrothersOfMetal #Fimbulvinter #FromBeyond #GuardianOfTheUniverse #HarbingerOfWoe #HellOn #HoldeneyeSTopTenIshOf2024 #InAphelion #InTheTwilightGrey #InvincibleShield #Ironflame #JudasPriest #KeygenChurch #KingdomTornAsunder #Lists #Manowar #Necrophobic #NelNomeDelCodice #NemedianChronicles #OfSpectresAndStrife #OxygenDestroyer #PneumaHagion #Reaperdawn #Shaman #SufferBecome #TheSavageSword #UnhallowedDeliverance #VaultOfHorrors #Vitriol #WarriorsOfTheWorld

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#BraveWords
Today In Metal History 🤘 August 11th, 2023🤘
WARRANT, LED ZEPPELIN, BELPHEGOR, VENOM INC.

https://bravewords.com/news/today-in-metal-history-august-11th-2023-warrant-led-zeppelin-belphegor-venom-inc

#Warrant #LedZeppelin #Belphegor #VenomInc #KnebworthPark #HollywoodWalkOfFame #JaniLane #ErikKeithBrann #JimKale #MoysesKolesne #WindsOfPlague #Belphegor #AllOutWar #Cormorant #Hinder #Incantation #Motograter #Necrophobic

In Aphelion – Reaperdawn Review

By Holdeneye

A celestial object is in aphelion when it is at the point in its orbit where it is farthest away from the sun. Good god, that sounds so nice right about now. Yes, I live in the temperate Pacific Northwest, and yes, my summer has probably been way cooler than yours, but that doesn’t change the fact that summer fucking sucks. Give me 40-50°F and rainy any day over this 80+ sunny bullshit. I blame my inability to handle warmer temperatures on DNA I inherited from my straight-outta-Norway great-great-grandad, Knut,1 and I can’t wait until fall and winter rear their damp, dreary heads and restore some goddamn order around here. In the meantime, it would be nice to have some sort of musical cooldown; yes, a fresh batch of icy black metal through which I could fantasize about wet, windy days and early falling nights would probably be just what the doctor ordered. Enter In Aphelion. These guys wowed me so much with their debut record Moribund that it earned a top-3 spot on my year-end list for 2022. Let’s see if follow-up Reaperdawn can follow suit and cure my horrendous case of swamp-ass.

Originally intended to be an outlet for Necrophobic guitarist Sebastian Ramstedt’s more progressive ideas, In Aphelion quickly auto-corrected its sound into that of a ferocious melodic black metal band. Ramstedt, who handles lead guitar and vocal duties for the project, quickly recruited Necrophobic’s other guitarist Johan Bergebäck to perform the rhythm parts and Cryptosis drummer Marco Prij, and after initially handling bass himself, this time Ramstedt has handed that job off to Necrophobic’s Tobias Christiansson. Needless to say, In Aphelion’s output has a strong Necrophobic bent while still maintaining it’s own unique identity. Embedded single “When All Stellar Light is Lost” shows the band’s Necrophobic sensibilities with its melodic tremolo intro, but injects a far more savage, thrashy attack than that more well-known band is used to employing. Ramstedt’s vocals are the perfect black metal utterances, and his solo towards the end of the song is spellbinding.

In Aphelion are definitely at their best when they lean into their strengths of laying down aggressive black metal laced with majestic, frozen melody. The title track is the perfect example. Like the aforementioned “When All Stellar Light is Lost,” it oozes Dissection-y energy and exhibits Ramstedt and Bergebäck’s considerable chemistry as a guitar duo. It’s the kind of song that hearkens back to the glory of Moribund, and I can almost feel myself howling from atop a snow-covered peak as I listen to it.

Unfortunately, most of the rest of Reaperdawn brings me back down to my sweltering reality. Moribund was so amazing because it had multiple Song o’ the Year contenders and the rest of its songs nearly matched those. That just isn’t the case here at all. The world-beater highs just aren’t present, and when they almost land (see the incredible conclusion to “They Fell Under Blackened Skies”), they often have a bit too much extraneous material smothering them. Reaperdawn is eight tracks and 50 minutes, and while it is shorter than its predecessor, the material doesn’t feel nearly as essential—alas, there’s not a single song on the level of “Let the Beast Run Wild” here. Many of these songs (“The Field in Nadir,” “A Winter Moon’s Gleam,” “Further From the Sun,” “They Fell Under Blackened Skies,” “Aghori”) could have been trimmed by a minute, or three, to enhance their effect, and I think that may have strengthened the entire album. “When All Stellar Light is Lost” and “Reaperdawn” are great tracks, but overall, Reaperdawn feels like it meanders too much—many of the atmospheric bits seem to add less to the equation than last time around—and I kept finding myself wishing the guys would just keep the pedal mashed to the floor.

I was hoping for an arctic blast to the nether regions, but what I got felt more like a lukewarm soak. Like me, Reaperdawn bears incredible strength but suffers from a bit too much flab. It was always going to be hard for In Aphelion to match their magnificent debut, and while they muster up a couple of fantastic songs here, the rest get lost in a haze of excess. For my money, this year’s Necrophobic feels far more vital. Reaperdawn sounds like a band pushing against the boundaries of its identity, but in the process, that identity has become blurred and dulled. I hope these guys can hone things down and come for my throat next time.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 128 kb/s mp3
Label: Century Media Records
Website: facebook.com/inaphelion
Releases Worldwide: August 9th, 2024

#25 #2024 #Aug24 #BlackMetal #CenturyMediaRecords #Cryptosis #Dissection #InAphelion #InternationalMetal #Necrophobic #Reaperdawn #Review #Reviews

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#BraveWords
IN APHELION Feat. NECROPHOBIC, CRYPTOSIS Members Share Grim Music Video “Fields In Nadir”

https://bravewords.com/news/in-aphelion-feat-necrophobic-cryptosis-members-share-grim-music-video-fields-in-nadir

#INAPHELION #NECROPHOBIC #CRYPTOSIS

Check out the lyrics for the song “Necrophobic” by Slayer
#Slayer #Necrophobic
https://daletra.com/slayer/lyrics/necrophobic.html

Stuck in the Filter: April 2024’s Angry Misses

By Kenstrosity

The heat persists. Intensifies, even. We’re not even to the dead center of summer, where pavement melts and sinew sloughs off of bones. And yet, we toil. Endless trudges through the slime and grime of sharply angled ducts and beveled sheet metal characterize an average workday for my filtration minions, who do my bidding without question as I sip a piña colada in these run down and ragged headquarters. Alright fine, we don’t have piña coladas here, but a sponge can dream! A sponge can dream…

What was I saying? Oh, right. After many months of constant pep talks and gentle reminders with a cattle prod, my team of hack crack sifters managed a respectable haul from our April buildup. Dive in at your own peril!

Kenstrosity’s Sooty Slab

Exhumation // Master’s Personae [April 26th, 2024 – Pulverised Records]

Indonesian blackened death duo Exhumation never would’ve made it to my queue were it not for our burgeoning Discord server. Rollicking tunes, produced with a charming rawness that tingles my spine, task themselves with the summary destruction of that same spine and waste no time getting started. From the onset of opener “In Death Vortex,” Master’s Personae eviscerates with rabid teeth gnashing through my flesh. Ghoul (guitars) and Bones (vocals) display their respective talents vomiting souls out of their body and concocting sickening infernal riffs with aplomb—and made damn sure their session musicians could do more than just keep up on bass (Sebek), drums (Aldi), and lead guitar (J. Magus). With songs that kick as much ass-tonnage as highlights “Pierce the Abyssheart,” “Chaos Feasting,” “Thine Inmost Curse,” and late bloomer “Mahapralaya,” the only thing that could possibly stand in between you and total metallic indoctrination is the record’s gritty, extra-crunchy production. For some, that might even be its greatest selling point. Either way, Master’s Personae is, at its core, just a nonstop demonic party. Ipso facto, if you like fun, you like this. If you don’t, leave the Hall!

Thus Spoke’s Chucked Choices

Alpha Wolf // Half Living Things [April 5th, 2024 – SharpTone Records]

Aussie gang Alpha Wolf have always had an “angry” sound, but until now, they remained quite firmly smack dab in the middle of modern metalcore. With Half Living Things,1 however, the band move as far as they ever have into beatdown hardcore, albeit, a very glossy, and very metalcore interpretation of it. While many, myself included, think they sound better with a little bit of intrigue, a little bit of mournful melody and atmosphere, there’s no denying that this album does contain several bone-fide bangers. Opening run “Bring Back the Noise,” “Double-Edge Demise,” and “Haunter,” are a groovy set of smacks upside the head, and later cuts “Feign,” and “A Terrible Day for Rain” echo the same menace, safely keeping your head bobbing and your mean face on. The aggression can veer into the realm of cringe at points, not least on single “Sucks 2 Suck,” which includes the wild misstep of a thuggish rap bridge courtesy of ICE-T. But on the other hand, Alpha Wolf do show they have a heart, with surprisingly sadboi “Whenever You’re Ready,” and closer “Ambivalence.” It’s all pretty angsty, but questionable decisions aside, Half Living Things is worth at least the time it takes you to hear one or two of its best tracks. I’ll always be here for a little bit of adolescent ennui anyway.

Sarcasm // Mourninghoul [April 12th, 2024 – Hammerheart Records]

Whilst still a n00b, I reviewed Sarcasm’s previous album, Stellar Stream Obscured, and, to my initial surprise, really rather liked it. It was simply a quirk of circumstance that I didn’t pick up the promo for Mourninghoul. And looking back on that week, I wish I had. This thing is just as fun, just as furious, and once again the perfect balance between odd and straightforwardly blistering. Once again, they lace creepy organs and synthwork into death doom (“Withered Memories of Souls We Mourn,” “No Solace From Above”) to add a little mystique. Once again, they display some brilliant, beautiful, melodic black(ened death) metal riffery to lead refrains (“Lifelike Sleep,” “Dying Embers of Solitude,” “Absence if Reality”), not only soaking the listener in the nostalgia of the golden years of Dissection and Necrophobic, but memorable and moving in their own right. Overall, the album is a little slower and more atmospheric than its predecessor, but in this light perhaps a little more thoughtful. One to check out for anyone who dug Stellar Stream Obscured.

Dear Hollow’s Loudness Lard

Lord Spikeheart // The Adept [April 19th, 2024 – Haekalu Records]

Lord Spikeheart is the alias of Martin Kanja, one-half of grind/noise duo Duma, whose sole self-titled LP was received warmly back in 2020 by the gone-but-unforgotten Roquentin. Now a solo act, Spikeheart fully embraces the manic in his debut full-length The Adept, a fusion of noise, industrial, trap, grind, and hip-hop and tinged with native Kenyan instruments. – guaranteed to scare off unwanted listeners. Featuring a bevy of featured artists, The Adept is as jerky and unpredictable as you might expect from its laundry list of sounds. Including all, but not limited to, Author & Punisher-level of manufactured brutality (“Sham-Ra”), layers of jagged hip-hop a la Skech185 (“Emblem Blem,” “Djangili,” “33rd Degree Access”), and outright metal guitar solos and blastbeats (“Nobody”), as well as outright bananas explosive Igorrr-esque breakcore seizures and Kenyan percussion (“TYVM”) and ominous sprawls of haunting humid ambiance over manic beats (“Rem Fodder,” “Verbose Patmos,” “4AM in the Mara”), and there is little that is predictable about The Adept. Throw on Lord Spikeheart’s incredible charisma, shocking vocals, and evocative primal songwriting, and you’ve got yourself a tastefully insane and impressively uncomfortable slab of experimentation that feels dangerous and unrelenting in the right ways.

Whores. // War. [April 16th, 2024 – The Ghost is Clear Records]

Sometimes you just need a good concussion and drool out your brains to the curb because you got dinged around so much. Atlanta four-piece Whores. will provide mightily in more ways than one. Professing a riff-heavy noise rock/sludge metal combo reminiscent of Chat Pile or Iron Monkey, each of the tracks in War.’s 34-minute runtime is a thick-ass spanker with thick-ass riffs, bad-ass cymbal abuse, and mad-ass yells, and you’d be a fool to miss this broken-tooth abuse. Groove is embedded in the marrow of each bone, and the swill of riffs and noisy leads will get your head bobbing before you can learn how to pronounce opener “Malinches.” From the outright onslaughts of “Imposter Syndrome” and “Sicko,” to the bass builds and guitar squonks of “Quitter’s Fight Song” and “Hostage Therapy” or punky rhythms of “Hieronymous Bosch was Right” and “The Death of a Stuntman,” you don’t need to get all academic to abuse the drywall, and Whores. will set their teeth behind your bruised knuckles. The message is clear: get unga-bunga with riff.

Spit on Your Grave // Arkanum [April 12th, 2024 – Self Release]

You always run a risk when you change up your sound, even slightly. Mexican death metal peddlers Spit on Your Grave are familiar with it. Formerly bringin’ the slamz and gooey brutal shit to your court with unhinged insanity, Arkanum keeps the core sound while incorporating more tempo and nimbleness, making a blazing death metal album with some Behemoth-esque experimentation that keeps the album from falling into gnarly monotony and injects a necessary regality reflected in its art. Subtle plucking motifs grace opener “The Infection” and closer “The March of the Innocents,” chanting and choirs spruce up limper portions of “Into the Devil’s Realm,” and dancy rhythms and melodeath noodling kick up “Broken Hourglass.” In spite of the levels of experimentation, the riff reigns supreme throughout, made most plain in the no-holds-barred death metal assaults of “The Heretic,” “Dark Lullaby,” and “Self Sacrifice.” It’s somewhere between Behemoth’s wicked conjuration of crowns and Hate Eternal’s blazing scorched earth campaign, and while imperfect, Spit on Your Grave’s new direction is tantalizing.

Dolphin Whisperer’s Crossed Up Casting

Nuclear Tomb // Terror Labyrinthian [April 12th, 2024 – Everlasting Spew]

Filthy, frothing, furious, Nuclear Tomb embodies all that fueled the origins of the thrash and death movements, which actively rejected the tonal shift toward “pleasing” that pop-leaning forms of heavy metal were taking at the time. So, yes, it’s unsurprising to hear a punky and driven bass identity reminiscent of the overdriven pummeling of Dan Lilker in Nuclear Assault or Stéphane Picard in Obliveon. But though thrash rings true in the speed-needing assaults of “Fatal Visions” or “Vile Humanity,” death—the gnarled yet precise riffcraft you would heard in an early Pestilence summoning—feeds ugly and foul this acts hefty ambitions. Terror Labyrinthian gives exactly what its name promises: a sense of profound encapsulation and isolation in the density that Nucleur Tomb conjures alongside a sci-fi-informed fear and terror. Its ambition is such that it can fly off the rails a touch when it gets too moody (“Dominance & Persecution”), and its level of discordance can leave tracks feeling like intangible pulps of sick and snarling riffage (“Manufacturing Consent,” “Parasitic”). Despite these minor concerns, Labyrinthian Terror shakes enough to leave a worthy, full-length mark after two promising EPs. And with members of Nuclear Tomb floating around in their small scene with oddball grinders Ixias and the avant-minded Genevieve, it’s all but a promise that what comes next will be weird, frightening, and demanding.

Steel Druhm’s Rancid Requiems to Rotpitting

Engulfed // Unearthly Litanies of Despair [April 19th, 2024 – Me Saco Ojo]

Straight outta Turkey comes the vicious, face-melting death metal assault of Engulfed. Featuring members of Hyperdontia and Diabolizer and bearing hallmarks of both, Engulfed are a nasty savage on a war march to destroy all that lives and breathes. With a highly seasoned lineup and a lethal mission statement, Unearthly Litanies of Despair is a “not fucking around” kind of death platter full of blazing speed, thunderous blasts, and more sub-basement croaks and roars than you’d find in an illegal Balrog mining facility. All the old school legends get sound checked, with plenty of Vader, Morbid Angel, and Incantation-isms to be unearthed, but to my ears, Engulfed sounds most like brother band Diabolizer. That’s certainly not a bad thing, as anyone who heard 2021s Khalkedonian Death will attest. There’s not much subtly on display on Unearthly Litanies, and Engulfed are happy to blast away at Mach 9 for the bulk of the album’s runtime, only slowing down long enough to let slithery riffs do their tentacle things. It isn’t until the closing stanza “Occult Incantations” that they opt to get down and doomy, and though it runs way long at nearly 8 minutes, it digs up some nicely dark, gloomy textures. All in all a brutal trip to the belly of the beast feaster!

Coffin Curse // The Continuous Nothing [April 22nd, 2024 – Memento Mori]

The sophomore offering from Chile’s Coffin Curse is 100% military grade old school death with enough rot and pus to win over any genre fancier. The Continuous Nothing is really a continuous something, and that something is gnarly, thrashing death goodness in the varicose vein of Autopsy with some Deicide and Morbid Angel in the gore batter. There’s absolutely nothing new here, but the enthusiasm with which Coffin Curse comes at the classic death style is refreshing and invigorating. You’ll be smiling early into opener “Thin the Herd” due to its oh-so-righteous blend of Autopsy and vintage Morbid Angel, and it’s tough to blast “Bacchanal of the Mortal” and not want to throw your BarcaLounger out the fucking window. This is meat n’ tatters gutter death that could have come out in the late 80s or early 90s, but that doesn’t lessen its vitality and impact since these cats know how to write a ripping tune. I’m especially enamored with the disgusting vocals of Max Neira who gives even the hideous Chris Reifert a run for his scuzz-vomit money. This thing is just good, gross fun!

Tombstoner // Rot Stink Rip [April 26th, 2024 – Redefining Darkness]

Staten Island-based death thugs Tombstoner came back to kill with second album Rot Stink Rip, showcasing a whole lotta New York attitude. With a sound mixing mouth-breathing caveman brutality with New York hardcore undertones, the menu items all come with brass knuckles and steel-toed boots to your fat face (no substitutions!). This is street-level tough guy death with a Biohazard/Pantera-level IQ and anything remotely intellectual is tossed in the dumpster like a carpet-wrapped corpse. Songs like “Sealed in Blood” will rot your brain stem as it curb stomps your skull, and the beefy death grooves are ugly, stupid, and dangerous. Internal Bleeding-isms rebound off Skinless idioms amid the brainless forward momentum of the title track, and the groove-busting, barroom-bullying nastiness of primal cuts like “Metamorphosis” and “Reduced to Hate” are made for Roids Appreciation Day at Planet Meathead. The riffs are hella weighty and the overall approach is lead pipe brutality. Don’t bother spinning this if you’re one of those fancy-dancy tech types. This one is strictly for the gashouse gorillas and pimpanzees.

Saunders’ Slimy Selections

Satanic North // Satanic North [April 19th, 2024 – Reaper Entertainment]

Featuring members of Ensiferum, Finnish black metal troupe Satanic North ripped out a seething slab of old school black metal on their self-titled debut. Although the album seemed to drop with minimal fanfare or notice, having been clued into its existence, Satanic North has since provided a helluva fun time. Satanic North pull no punches and dispense with flash or bombast, adding modern beef to an endearingly old school formula that stomps hard. Harnessing the raw, punky, Venom-esque attitude of ’80s black metal, along with distinctive second-wave elements, and dashes of Darkthrone and Goatwhore, Satanic North is a varied, aggressive and utterly addictive opus. Regardless of the mode of destruction the band chooses at any given time, the songwriting quality generally maintains the rage. Grim, icy atmospheres envelope blasting, viciously executed songs, loaded with a bevy of badass riffs and pissed-off attitude. The relentless, hammering blows on opener “War,” sit comfortably alongside the crawling, sinister melodies and infectious hooks of “Village,” while expert pacing and builds highlight epic later album gem, “Kohti Kuolemaa.” Satanic North throw down some awesomely thrashy barnburners for good measure on powerhouse nuggets of black gold in the shape of “Wolf” and closer “Satanic North.” One of 2024’s underrated gems.

Iron Monkey // Spleen & Goad [April 5th, 2024 – Relapse Records]

UK veterans Iron Monkey’s 1998 opus Our Problem is a sludge classic that I’ve held in high regard for many years. Sadly, the untimely death of raw-throated vocalist Johnny Morrow, a distinctive, glass-gurgling beast behind the mic, saw the band dissolve, until reforming and crafting a solid comeback with 2017’s 9-13. Stripped own to a trio in their second coming, with long-serving guitarist Jim Rushby doing an admirable job taking over the vocal slot, Iron Monkey sound as though the piss, vinegar, and hatred still flows in their veins. Spleen & Goad offers few surprises, continuing the trend of its predecessor while maintaining the signature Iron Monkey sound. And although Iron Monkey cannot quite match the esteemed heights of their early days, this modern, well-trodden incarnation of the band still bludgeons, grooves and seethes with sledgehammer force and infectiously diseased riffs. Channeling the bluesy Sabbathian meets NOLA mode of sludge, with a side of Grief, and a shit ton of spite, the Iron Monkey lads deliver the goods again. Noisy, feedback-drenched bruisers rule the day; as swaggering, drunken grooves, surly riffs, and feral vocals drive this unhinged hate machine. Spleen & Goad is victim to some creeping bloat, however overall, it’s a stellar return and addition to their storied catalog, as rugged, bludgeoning cuts like “Misanthropizer,” “Concrete Shock,” “Rat Flag” and “Lead Transfusion” attests.

Mystikus Hugebeard’s Filthy Finding

Diabolic Oath // Oracular Hexations [April 5th, 2024 – Sentient Ruin Laboratories]

Oracular Hexations is a blast. It is a chaotic, colossally dense album of what can ostensibly be called blackened death metal, but the music is just so fucking filthy it might as well be sludge. The fun thing here is that the guitar and bass are completely fretless; the riffs aren’t hard to parse but the guitars feel almost slippery. It allows the brutal riffage of a heavy track like “Serpent Coils Suffocating the Mortal Wound” to become borderline hallucinogenic, while still hitting like a truck. The slower, oozing riffs of “Rusted Madness Tethering Misbegotten Haruspices” and “Winged Ouroboros Mutating Unto Gold” have a real viscosity to them that always reminds me of the stoner doom stylings of Conan. This album is definitely a lot, but it’s an extremely satisfying listen. The fretless imprecision paired with the music’s intensity, the delightfully disgusting guitar tone, and the vocalist’s tectonic gurgles all give Oracular Hexations a ritualistic atmosphere so thick you can practically sink into it. There’s plenty one could say about the musicianship—the drummer deserves praise for his diverse, technical performance—but trying to dial in on any one ingredient is like trying to appreciate the subtle flavor undertones of sheep stomach in a plate of haggis. Just cram the whole thing in at once, man, because this is the kind of sensory brutalization that you’ve gotta just let happen to you.

Iceberg’s Singular Surfacing

Venomous Echoes // Split Formations and Infinite Mania [April 05, 2024 – I, Voidhanger Records]

Extreme metal’s penchant for horror and destruction never ceases to amaze me. It doesn’t matter how I came across Venomous Echoes second album Split Formations and Infinite Mania, one look at that album cover and the curtain rise of squelching music within had me transfixed. Brutal Floridian death metal meets the dissonant disintegration of Portal meets the crushing weight of funeral doom and they all come together in the unrated cut of a Cronenberg flick. One-man-band Benjamin Vanweelden takes the listener inside his own personal hell as he wrestles with body dysmorphia, making for an experience not unlike recent cuts by An Isolated Mind or The Reticent. This is challenging, highly uncomfortable music, abandoning pitch and rhythm at will, bending and twisting notes and smothering the listener with oppressive atmosphere. From the sickening stomping sound effects of opener “Ocular Maltosis ov Schizophrenia” to the ultra-dissonant ostinato and DSBM wailing of closer “Split Formations and Infinite Mania,” this album is the definition of the car crash you can’t look away from. Far outside any zone of comfort is exactly where Vanweelden wants his listeners, and I have to say this makes for a sickly impressive, revolting, yet mesmerizing experience.

#AlphaWolf #AmericanMetal #AnIsolatedMind #Arkanum #AustralianMetal #AuthorPunisher #AuthorAndPunisher #Autopsy #Behemoth #Biohazard #BlackMetal #BlackSabbath #BlackenedDeathMetal #BrutalDeathMetal #ChatPile #ChileanMetal #CoffinCurse #Darkthrone #DeathMetal #Deicide #DiabolicOath #Diabolizer #Dissection #Duma #Engulfed #Ensiferum #EverlastingSpewRecords #Exhumation #FinnishMetal #FuneralDoom #Genevieve #Goatwhore #Grief #Grind #Grindcore #HaekaluRecords #HalfLivingThings #HammerheartRecords #Hardcore #HipHop #Hyperdontia #IVoidhangerRecords #Igorrr #Incantation #IndonesianMetal #Industrial #InternalBleeding #IronMonkey #Ixias #KenyanMetal #LordSpikeheart #MasterSPersonae #MeSacoUnOjoRecords #MelodicBlackMetal #MelodicDeathMetal #MementoMoriRecords #Metalcore #MexicanMetal #MorbidAngel #Mourninghoul #Necrophobic #Noise #NuclearAssault #NuclearTomb #Obliveon #OracularHexations #Pantera #Pestilence #Portal #PulverisedRecords #RawBlackMetal #ReaperEntertainment #RedefiningDarknessRecords #RelapseRecords #Review #Reviews #RotStinkRip #Sarcasm #SatanicNorth #SelfRelease #SharpToneRecords #Skech185 #Skinless #Slam #Sludge #SludgeMetal #SpitOnYourGrave #SpleenGoad #SplitFormationsAndInfiniteMania #StuckInTheFilter #SwedishMetal #TerrorLabyrinthian #TheAdept #TheContinuousNothing #TheGhostIsClearRecords #TheReticent #ThrashMetal #Tombstoner #Trap #TurkishMetal #UKMetal #UnearthlyLitaniesOfDespair #Vader #Venom #VenomousEchoes #War #Whores_

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#BraveWords
IN APHELION Feat. NECROPHOBIC, CRYPTOSIS Members Release "A Winter Moon's Gleam" Music Video

https://bravewords.com/news/in-aphelion-feat-necrophobic-cryptosis-members-release-a-winter-moon-s-gleam-music-video

#InAphelion #Necrophobic #Cryptosis #BlackDeath #HeavyMetal #Reaperdawn #SebastianRamstedt #MarcoPrij #JohanBergebaeck #TobiasCristiansson

Graveland 2024 is over. Check our Instagram page out for a reel featuring the mosh pit during the #Necrophobic set. On the YouTube side, this playlist captures performances from #mortiferum #wolvesinthethroneroom and #carcass https://www.youtube.com/watch?v=7RwYqQtvqMo&list=PLmn2ED1LqEvCHIQME9qXk9v3VtnCyvDH7

As expected, we had a great time on the second day of Graveland Festival in the green fields of #Hoogeven. We saw #teratoma and #mortiferum followed by the giants of #wolvesinthethroneroom #Necrophobic and #carcass Some of the bands would have benefited from an indoor venue but we won’t complain too much.

Ossilegium – The Gods Below Review

By Thus Spoke

I would like to go back to Paris one day. Not for its popularity as a romantic destination, nor especially to see the famous art and architecture it hosts. No, the reason I’d like to go back is to pay a visit to a site I missed when I went as a teenager: the Catacombs. This ossuary, home to the bones of around six million people, is one of the few places you can legally be in the presence of so many skulls, and it sounds incredible. Why are we talking about this? Prior to placing a person’s remains in an ossuary, one must conduct an Ossilegium, which is, literally, a “collecting of bones.” This Ossilegium, “[o]ne of the best-kept secrets of Chicago’s metal scene,” are a duo hoping to come out of the crypt with panache, playing a brand of black(ened death) metal that hearkens back to decades past. No frills, all ferocity. Going for old-school means high expectations for catchiness and bite, if not intrigue. When it comes to The Gods Below, how long will it take for me to start talking about the actual dead sleeping below the ground, over these supposed Gods ov death?

The Gods Below stays trve to its purported authentic style, and its archaic, menacing moniker. Filled with frosty (dis)harmonious “brrrrr”s of tremolo and forward, clanging scale ascents and descents, it alternates between furious d-beat and blastbeat-led charges, and sways of skipping cymbal and drum rollover. Melodic in a muted, afterthought kind of way, outside of some appropriately gnarly soloing, and narrated by barking screams that only rarely deviate into rough growls and higher calls. Other than two short, plucked instrumentals, which absolutely do not need to be there, it’s mean and menacing all the way through. And sometimes it’s rather fun.

Ossilegium know how to write a guitar lick. When they go full force with the shivery, spidery scrambles (“Nightborn,” “To Reach the Eternal Ends”) and lightning-strike, crooning soloing (“The Winds of Astaroth,” “To Reach…,” title track) the effect is electric. The duo gallop out of the gate at full pelt with the bombastic “Nightborn,” and fulfill its promise of no-nonsense black metal in the later callbacks to its theme—the ringing chords of “Serpentine Shadows,” and spiraling layered tremolos of “To Reach the Eternal Ends.” But they also show that they’re not only concerned with the savage and the spooky aspects of their home genre, with the warm, mournful solo on “The Winds of Astaroth”—which reminds me of that Dödsrit record from earlier this year—blazing with a fire that makes the rest of the album feel dim, though that on “To Reach…” is a close second. The bounce of rhythmic riffing and d-beating drums (“Constellationrise,” title track) even veers into jauntiness more befitting of Frozen Dawn than that most ovbious of comparators, Necrophobic. Under its superficially simple exterior, there is, sort of, a lot going on, and much promise on display, and it helps when they throw in a ragged scream (“The Winds..,” “Beyond the Clandestine,” “Constellationrise”) to slice across the chords.

The above are the reasons that The Gods Below is so frustrating. Beyond those peaking solos, outside of the flashes of thrilling vigor and vivacity, the music is as grey and cold as its accompanying artwork. Those blazing solos aren’t the only reason so much of the intermediary material seems dull. With repeated, dedicated listens, even the best parts aren’t memorable, so there’s nothing to pull back the listener. Adhering to tradition and an old-school vibe doesn’t have to mean boring and predictable, and yet—highlights mainly excluded—this album is riff-by-numbers blackened death so flavorless and dry I feel thirsty just listening to it. What’s even worse is that the album seems to broadly peter out as it develops, with the best tracks by far (“Nightborn,” “The Winds…”) sitting in the front half, and the later “To Reach…” and title track marred by their bulk being dominated by garden-variety, washed-out, midtempo black metal, plus a few little scale progressions you’ve heard approximately ten thousand times before.

If Ossilegium leaned into any one of the directions they hint at, they could have something very special. The soaring melodicism of “The Winds of Astaroth,” the electric energy of “Nightborn,” or even something uglier, and more menacing. But to remain so firmly in the middle of the road indicates a lack of identity that threatens to bury the young band like so many bones under the Parisian streets. It’s settled, I’m hopping on the first Eurostar over to France to get a proper dose of those Below.

Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: Bandcamp (band) | Bandcamp (label) | Facebook
Releases Worldwide: May 3rd, 2024

#20 #2024 #AmericanMetal #BlackMetal #BlackenedDeathMetal #Dissection #May24 #Necrophobic #Ossilegium #PersonalRecords #Review #Reviews #TheGodsBelow

NECROPHOBIC Streams Roadworthy Music Video For "Mirrors Of A Thousand Lakes" https://metalinjection.net/video/necrophobic-streams-roadworthy-music-video-for-mirrors-of-a-thousand-lakes #necrophobic

Album Review: NECROPHOBIC In The Twilight Grey https://metalinjection.net/reviews/album-review-necrophobic-in-the-twilight-grey #necrophobic #Reviews

NECROPHOBIC Streams Roadworthy Music Video For "Mirrors Of A Thousand Lakes" https://metalinjection.net/video/necrophobic-streams-roadworthy-music-video-for-mirrors-of-a-thousand-lakes #necrophobic

Album Review: NECROPHOBIC In The Twilight Grey https://metalinjection.net/reviews/album-review-necrophobic-in-the-twilight-grey #necrophobic #Reviews

The Weekly Injection: New Releases From ABORTED, DRAGONFORCE & More Out Today 3/15 https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-aborted-dragonforce-more-out-today-3-15 #WeeklyInjection #whomgodsdestroy #dragonforce #necrophobic #NightVerses #featured2 #aborted #Brat

NECROPHOBIC Streams Roadworthy Music Video For "Mirrors Of A Thousand Lakes" https://metalinjection.net/video/necrophobic-streams-roadworthy-music-video-for-mirrors-of-a-thousand-lakes #necrophobic

NECROPHOBIC Streams Roadworthy Music Video For "Mirrors Of A Thousand Lakes" https://metalinjection.net/video/necrophobic-streams-roadworthy-music-video-for-mirrors-of-a-thousand-lakes #necrophobic

Album Review: NECROPHOBIC In The Twilight Grey https://metalinjection.net/reviews/album-review-necrophobic-in-the-twilight-grey #necrophobic #Reviews

Album Review: NECROPHOBIC In The Twilight Grey https://metalinjection.net/reviews/album-review-necrophobic-in-the-twilight-grey #necrophobic #Reviews

Album Review: NECROPHOBIC In The Twilight Grey https://metalinjection.net/reviews/album-review-necrophobic-in-the-twilight-grey #necrophobic #Reviews

Necrophobic – In the Twilight Grey Review

By Holdeneye

When I covered Necrophobic’s 2020 release, Dawn of the Damned, I spoke at length about what this band means to me as a reviewer and fan of heavy metal music. These guys singlehandedly got me into black metal, and when I hear other bands playing a similarly melodic, death metal-infused version of the genre, I can’t help but hold them up next to these guys, my personal archetype of what this style is supposed to sound like. There’s something so effortless and genuine about the way Necrophobic crafts their songs, combining many styles into one distinct, weaponized sound. Their comeback era, begun by 2018’s Mark of the Necrogram, has been stellar, but AMG’s Law of Diminishing Records™ demands that the probability of each subsequent release being a success must become exponentially more slim. Couple this with the fact that Necrophobic’s guitar duo of Sebastian Ramstedt and Johan Bergebäck released an incredible debut from their project In Aphelion in the time since Dawn of the Damned, and a nodule of doubt began to grow inside my brain: can these guys possibly still have enough firepower in the tank to blow me away with a new record in 2024?

Any and all doubt I had about In the Twilight Grey was obliterated when I first heard the embedded single “As Stars Collide” for the first time. The song uses Necrophobic’s well-worn formula for melodic black metal, but it infuses that core sound with a regally pagan atmosphere. It only took a couple of listens for me to start involuntarily chanting along with the melodic intro riff, and the arpeggios played beneath the verse never cease to dazzle me. Shortly after the midpoint, a thrashy interlude paves the way for one of the many fantastic solo breaks on the album. The mid-paced nature of the track makes it somewhat of an outlier, but it’s an excellent lure to hook apprehensive listeners before laying them to waste with more violent fare.

Speaking of being hooked, In the Twilight Grey didn’t grab me as quickly as its predecessors; the varied track list initially lulled me into a vulnerable state of seeming indifference before it finally unleashed its genius. This album has just about every region of the black metal world covered, whether you’re looking for thrashened black (“Clavis Inferni”), blackened death (“Cast in Stone”), atmo-black (“Nordanvind”), the obligatory driving anthem that must be found on each Necrophobic album (“Stormcrow”), or a song that combines pretty much all of that (“In the Twilight Grey”). But my favorite track here is the record’s centerpiece, “Shadows of the Brightest Night.” It begins with some anxious leads atop the powerful drum work of band founder Joakim Sterner and builds towards a brief blast of full-on blackened death metal. But the magic truly begins after a brief rest when some deliciously creepy palm-mutes begin bouncing back and forth and the song enters a sinister groove. Nasty as hell, but remarkably catchy, the track twists and turns, including mind-blowing solos and some truly terrifying vocal sections from Anders Strokirk. It’s no exaggeration when I say that this might be my favorite Necrophobic track of all time.

I really can’t compliment this band highly enough. That effortlessness that I alluded to in the intro is present throughout In the Twilight Grey’s entire 56-minute runtime (I was honestly shocked when I saw that number while writing this. The album feels much shorter.) In my review of Dawn of the Damned, I compared Necrophobic to a blackened Judas Priest, and that assessment still holds. Necrophobic is often described as blackened death metal, and while that is technically true, these guys are heavy metal to the core. They can be as brutal as they want to be, but they know when to dial up an emotive solo or two to add some delicious contrast. Ramstedt and Bergebäck have cemented themselves as one of my favorite guitar duos in metal; the latter’s rhythm work makes sure the Rocky snarl is on my face as the former’s leads melt it off.

In the Twilight Grey may have taken a few listens to fully hook me, but once its talons took hold, there was no chance for escape. It’s a close call, but I’ll go out on a limb and declare that this is the strongest album that Necrophobic has released during their late-career surge. And if you know how I feel about their past two records, you know that to be high praise, indeed.

Rating: Great
DR: 8 | Format Reviewed: 128 kbps mp3
Label: Century Media Records
Websites: facebook.com/necrophobic.official | www.necrophobic.net
Releases Worldwide: March 15th, 2024

#2024 #40 #BlackMetal #CenturyMediaRecords #DeathMetal #InAphelion #InTheTwilightGrey #JudasPriest #Mar24 #Necrophobic #Review #Reviews #SwedishMetal

Album Review: Necrophobic – ‘In The Twilight Grey’

#Necrophobic #InTheTwilightGrey #CenturyMediaRecords

https://metalinsider.net/reviews/album-review-necrophobic-in-the-twilight-grey

Interview: Necrophobic’s Joakim Sterner discusses ‘In the Twilight Grey’

#Necrophobic #JoakimSterner #InTheTwilightGrey #Interviews #MarchReleases #CenturyMediaRecords

https://metalinsider.net/interviews/interview-necrophobics-joakim-sterner-discusses-in-the-twilight-grey

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Necrophobic Share New Song “As Stars Collide”
You can stream it right now.

https://www.metalsucks.net/2024/02/22/necrophobic-share-new-song-as-stars-collide/

#necrophobic #newmusic #metal #deathmetal #swedishmetal #asstarscollide #newalbum #musicnews

Necrophobic streaming new single “Grace of the Past;” share interview with Jens Rydén on album artwork:

#Necrophobic #GraceOfThePast #InTheTwilightGrey #CenturyMediaRecords #MarchReleases #NewMusic #JensRydenArtwork

https://metalinsider.net/video/necrophobic-streaming-new-single-grace-of-the-past-share-interview-with-jens-ryden-on-album-artwork

Necrowretch are Back and Blacker than Ever on New Album
Now entering their fifteenth year as a band, France’s NECROWRETCH are about to open the most ambitious chapter of their career with Swords Of Dajjal, their three-years-in-the-making fifth album.

Initially the sole work of multi-instrument and vision leader Vlad, the band was originally for...
https://comiccrusaders.com/necrowretch-are-back-and-blacker-than-ever-on-new-album/
#music #Possessed #Dark Angel #Dissection #Necrophobic #Merciless

Necrowretch – Swords of Dajjal Review

By Carcharodon

It’s almost four years since I reviewed French blackened death outfit Necrowretch’s fourth record, The Ones from Hell, a record I enjoyed quite a bit. Harsh, claustrophobic death metal with a nasty blackened edge, it was almost sludgy in its sound at times. I had a few minor quibbles about the songwriting and pacing of the record, and a bigger gripe with the production, but it remained a very good record. Unfortunately, like so many bands, Necrowretch’s plans to tour The Ones from Hell went down in flames as the COVID pandemic erupted. However, the band regrouped and began working on the follow-up, Swords of Dajjal, which was three years in the making. Having swept up a new drummer and bassist along the way, was it time well spent?

Founding member, vocalist, and rhythm guitarist Vlad, together with co-conspirator and lead guitarist Wenceslas Carrieu (aka W. Cadaver and ex-Cadaveric Fumes), chose as their inspiration the Al-Masih ad-Dajjal (or simply Dajjal), the great deceiver in Islamic mythology. Dajjal will appear ahead of Judgment Day in the guise of the promised messiah and perform apparent miracles, luring many followers to his cause before he is ultimately defeated. The feel of that epic, religious, semi-demonic mythology infects Swords of Dajjal. The most overtly black metal record that Necrowretch has written, the band has not entirely abandoned its death metal roots, with the resulting mix vicious and bestial. Vlad’s vocals have taken on an even more gravelly and sepulchral tone, sound truly possessed at times (“Dii Mauri”). Although still present, the use of echoing effects that I thought were over-used on The Ones from Hell has been dialed back, allowing Vlad’s invocations to hit with more impact without all artificial adornments.

Carrieu and Vlad’s guitars rage and enthrall in equal measure, as the melodic, yet razor-sharp riff that opens “The Fifth Door” sets out the stall early on, as do the bludgeoning tremolos of “Vae Victis.” However, down-tempo, classic heavy metal leads (back third of “Ksar Al-Kufar” and title track), as well as brief acoustic moments (“Numidian Knowledge”) pour just enough sweetness into Necrowretch’s whisperings to balance out the tempest. New-ish drummer Nicolas Ferrero (who has played live drums for the band since 2018 but only came on board full-time in 2021) is a revelation. Dynamic and deft in his touch, he’s the beating heart of Swords of Dajjal, adding both a furious energy and a progressive, delicate edge. Mixing the unsettling percussiveness of Strigoi with the wicked edges of Necrophobic, there’s also something of The Great Old Ones in Necrowretch’s sound here. Perhaps it’s the constantly fluctuating tempos or the slightly grandiose edge to some of the tracks (title track, “Ksar Al-Kufar” and “Dii Mauri” in particular) but Swords of Dajjal almost sounds like a twisted, corrupted alternate soundtrack to Dune.

Coming in at a tight 37 minutes (the same as The Ones from Hell), it’s pleasing to see Necrowretch resisting the temptation to which so many bands succumb, particularly when tackling epic mythologies like Dajjal, to over-indulge themselves. The songs feel fluid and natural from the opening notes of “Ksar Al-Kufar” to the ominous creeping close of “Total Obliteration.” There is zero bloat or filler on Swords of Dajjal, which blazes with intensity, while the production issues I had with the last record have disappeared, although something weird happens to the drums in the heaviest passages of “Vae Victus,” as they are briefly swallowed into a swampy, second wave sound that isn’t present anywhere else on the album. Other than that, it sounds great. The guitar tone is great and there is an audible groove from the bass (although new bassist Romain Gibet—R. Cadaver and also ex-Cadaveric Fumes—only joined once recording was complete), while Vlad’s vocals are the best I have heard from him.

One of the first things to really hit me in 2024, Necrowretch made a real step up from The Ones from Hell, significantly more than the 0.5 difference in score might suggest. More maturely and consistently written than that last record, Swords of Dajjal has a flow and intensity to it, which gives it an epic feeling of grandeur that belies its tight runtime. At times darkly oppressive and threatening, at others brutally crushing, it is a great record.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: necrowretch.bandcamp.com | necrowretch.net | facebook.com/necrowretch
Releases Worldwide: February 2nd, 2024

#2024 #40 #BlackMetal #BlackenedDeathMetal #DeathMetal #Feb24 #FrenchMetal #Necrophobic #Necrowretch #Review #Reviews #SeasonOfMist #Strigoi #SwordsOfDajjal #TheGreatOldOnes #TheOnesFromHell

Sworn – A Journey Told Through Fire [Things You Might Have Missed 2023]

By Carcharodon

Hailing from Bergen, Norway, Sworn have been toiling away in relative anonymity since 2005. Two early, and frankly unremarkable, records were followed by a nine-year gap before the release of 2018’s very good, Dark Stars and Eternity. Melodic black metal with a ton of atmosphere, and sounding more Finnish than Norwegian for much of its run, the album was only really hampered by a slightly questionable mix. There is no question, however, that it represented a real step up in quality for the quartet when compared to their first two outings. Scroll forward to July this year and, still unsigned, Sworn dropped their fourth LP, A Journey Told through Fire.

It’s best to simply ignore the (predictably) cringe-inducing, but thankfully brief, spoken word passage that opens the record on what is otherwise one of the album’s best cuts, the epic “A Godless Domain.” Drummer Tom Ian Klungland sets a furious, propulsive tempo for much of the album, driving it forward in a relentless fashion that reminded me of Vorga. The melodic tremolos from guitarists Goran Hope and Christoffer Kjørsvik recall Necrophobic and Mistur as they swirl and soar but it’s the synths and strings that are introduced as quiet introspective passages, that really elevate what Sworn do. Handled by Kjørsvik, who also plays bass and seems to be the principal songwriter, the synths lend an almost symphonic note in places (back third of “A Godless Domain” and the middle sections of “Grand Eclipse”), giving A Journey Told through Fire a sense of grandeur that I associate more with doom than melodic black metal.

Meanwhile, other parts of the album, like the middle sections of the desperately mournful “Calamity Sea,” see some noodling that has a distinctly power metal feel, before an Insomnium-esque lead drops. Indeed, the Insomnium vibes are strong on “Monumental” also, as some of the earlier pace of A Journey Told through Fire is stripped out, allowing Sworn to indulge themselves a little. In other places, Cult of a Dying Sun-era Uada notes bleed into the guitars, as well as the pacing, particularly on “Visions of Fire” and the title track. Throughout, Max Wilson’s throat-shredding rasps offer up a harsher side to the record, which otherwise has an air of sweet melancholia to much of it. Clocking in at just under 50 minutes, the album is tightly written and beautifully paced, shifting up and down through the gears at will. Pummelling in places, dropping down into somber quasi-doom-death mode in others (back third of the title track), Sworn show themselves to have a deft touch for switching things up at just the right moment.

The guitars have a great sorrowful tone to them, while the issues with the mix on Dark Stars and Eternity, which saw the drums swallowing the guitars, have been fixed. By contrast, A Journey Told through Fire feels rich and, for all its pensive notes, vibrant, while its sound envelops you, making for a surprisingly easy listen. The trajectory from Dark Stars … to A Journey Told through Fire is extremely promising, suggesting the band has found its songwriting groove. Easily the best material of Sworn’s almost 20-year career, I hope this is the record that may finally see them start to get some recognition. I also hope we don’t have to wait another five-plus years for the next entry.

Tracks to Check Out: ”A Godless Domain,” “Monumental” and “A Journey Told through Fire.”

#2023 #AJourneyToldThroughFire #BlackMetal #CultOfADyingSun #DarkStarsAndEternity #Insomnium #MelodicBlackMetal #Mistur #Necrophobic #NorwegianBlackMetal #NorwegianMetal #SelfRelease #Sworn #ThingsYouMightHaveMissed2023 #TYMHM #Uada #Vorga

Necrophobic share “Stormcrow” video; new album arriving in March:
#Necrophobic #Stormcrow #MusicVideo #MetalInsider #NewAlbum #IntheTwilightGrey #2024Releases #CenturyMediaRecords

https://metalinsider.net/video/necrophobic-share-stormcrow-video-new-album-arriving-in-march

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#MetalInjection
NECROPHOBIC Streams "Stormcrow", Announces First Record In Four Years
Blackened death metal fans, rejoice!

https://metalinjection.net/video/necrophobic-streams-stormcrow-announces-first-record-in-four-years

#Necrophobic
#Stormcrow
#MetalMusic
#DeathMetal
#RecordRelease
#FourYears
#VocalistAndreaLundgren
#DarkMark
#KampotRecords

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#Loudwire
The Most Disgusting Metal Lyrics of All Time
Forget about work — this list isn't safe to view anywhere.

https://loudwire.com/most-disgusting-gore-filled-metal-lyrics/

#Loudwire #MetalLyrics #GoreFilled #MostDisgusting #Necrophobic #CannibalCorpse #OutsideInside #AnatomyofEvil #Behemoth #Dissection #Carcass