#progressivemetal — Public Fediverse posts

While it's still #BandcampFriday , you should check out Sarah Longfield's new album! If you're into progressive metal/djent, she really delivered a great album. Some very cool synth work in there too! #music #progressivemetal #progmetal #djent #bandcamp #mathrock #progrock

https://sarahshreds.bandcamp.com/album/retribution

While it's still #BandcampFriday , you should check out Sarah Longfield's new album! If you're into progressive metal/djent, she really delivered a great album. Some very cool synth work in there too! #music #progressivemetal #progmetal #djent #bandcamp #mathrock #progrock

https://sarahshreds.bandcamp.com/album/retribution

While it's still #BandcampFriday , you should check out Sarah Longfield's new album! If you're into progressive metal/djent, she really delivered a great album. Some very cool synth work in there too! #music #progressivemetal #progmetal #djent #bandcamp #mathrock #progrock

https://sarahshreds.bandcamp.com/album/retribution

While it's still #BandcampFriday , you should check out Sarah Longfield's new album! If you're into progressive metal/djent, she really delivered a great album. Some very cool synth work in there too! #music #progressivemetal #progmetal #djent #bandcamp #mathrock #progrock

https://sarahshreds.bandcamp.com/album/retribution

While it's still #BandcampFriday , you should check out Sarah Longfield's new album! If you're into progressive metal/djent, she really delivered a great album. Some very cool synth work in there too! #music #progressivemetal #progmetal #djent #bandcamp #mathrock #progrock

https://sarahshreds.bandcamp.com/album/retribution

GREEN CARNATION (Noruega) presenta nou Boxed set: "A Dark Poem - The Complete Series" #GreenCarnation #DeathMetal #Gothic #ProgressiveMetal #Rock #Setembre2026 #Noruega #NouBoxedSet #Metall #Metal #MúsicaMetal #MetalMusic

GREEN CARNATION (Noruega) presenta nou Boxed set: "A Dark Poem - The Complete Series" #GreenCarnation #DeathMetal #Gothic #ProgressiveMetal #Rock #Setembre2026 #Noruega #NouBoxedSet #Metall #Metal #MúsicaMetal #MetalMusic

GREEN CARNATION (Noruega) presenta nou àlbum: "A Dark Poem, Part III: The Messiah Complex" #GreenCarnation #DeathMetal #Gothic #ProgressiveMetal #Rock #Setembre2026 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GREEN CARNATION (Noruega) presenta nou àlbum: "A Dark Poem, Part III: The Messiah Complex" #GreenCarnation #DeathMetal #Gothic #ProgressiveMetal #Rock #Setembre2026 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

GREEN CARNATION (Noruega) presenta nou àlbum: "A Dark Poem, Part III: The Messiah Complex" #GreenCarnation #DeathMetal #Gothic #ProgressiveMetal #Rock #Setembre2026 #Noruega #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MOON DESTROYS (Estats Units) presenta nou àlbum: "Omni" #MoonDestroys #ProgressiveMetal #Rock #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MOON DESTROYS (Estats Units) presenta nou àlbum: "Omni" #MoonDestroys #ProgressiveMetal #Rock #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MOON DESTROYS (Estats Units) presenta nou àlbum: "Omni" #MoonDestroys #ProgressiveMetal #Rock #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

The time has finally arrived for the conclusion of Green Carnation’s epic A Dark Poem. If you’ve been following this journey, the band released the dark, brooding A Dark Poem Part I: The Shores of Melancholia last year to set the stage. Like The Matrix movies, this record works fine on its own, introducing a dark and chaotic side to the band. It was an exciting listen because, unlike previous Green Carnation records, The Shores of Melancholia was surprisingly one-sided instead of the band’s typical roundness. Which meant one of two things: either this trilogy would represent a much harsher version of the band, or we haven’t heard shit yet.

When A Dark Poem Part II: Sanguis dropped earlier this year, I was floored. Unlike The Matrix movies, Sanguis proved superior to its predecessor. But, as a pair, the experience is pure bliss. Out of the dark world of Melancholia came an album of hopelessness and severe depression. It’ll make you cry at one point, and scream at the skies at another. It also includes some of the best songwriting in Green Carnation’s thirty-six-year existence. So, how in the unholy hell can you fit in a finale? And even if you did, what would that sound like? I present to you the shocking A Dark Poem Part III: The Messiah Complex.

After all the ups-and-downs, intensity, emotion, and passion, The Messiah Complex arrives in a tight little package, consisting of a mere four songs with a thirty-eight-minute runtime. Which makes me realize how perfectly balanced these three records are because, when added up, they hover just below two hours of music. Of the three records, this new one feels the most progressive, and that progressiveness intensifies with each track. “Unconditional Artificial Chemistry” is an exceptional opener, delivering a pleasurable mid-paced groove, massive bass poppin’, and a classic Green Carnation chorus. It has Nordhus’ addictive melodic vocals, soothing guitar leads, and also some impressive key work.

The title track is the best on the record, but that’s silly to say when all four tracks are top-tier. But the combination of acoustic pluckings and hypnotic strummings puts us in the realm of Acoustic Verses. That’s before the head-bobbing chug takes over and gets this thing rockin’. At the midway point, we arrive at the calm before the storm. Then, the track really moves, climbing and roaring and soaring to its heavy conclusion. One of the cooler aspects of this song is the lead vocals by Green Carnation overload, Stein Sordal. “Broken Souls, Common Enemies” follows “The Messiah Complex” seamlessly, dropping some old-school progginess over a gorgeous chorus, nifty guitar leads, harpsichord action, and vicious rasps. After a gentle lull with acoustic guitars and flute, the song is flung up to a stratosphere over layered vocals, a sweeping atmosphere, and a stellar conclusion.

But the closing number, “A Dark Poem – Orchestral Suite,” is like nothing I’ve ever heard before. Executed by the Kristiansand Symphony Orchestra and Opera Choir, this nearly seventeen-minute song sees no distortion, no rumbling bass, and no vocals. Outside of the songwriting, you actually won’t hear a single peep from the band. It might be the most ambitious thing I have ever heard. By no means an expert in classical music, I can clearly hear Vivaldi inspiration here, with waves of strings, horns, woodwinds, and percussion that collide at the end in a massive conclusion. There’s no way I can describe it. It’s something one must hear. And it somehow is the perfect ending to this Ophelia-inspired epic.

At the end of this mighty journey, Sanguis still captivates me the most. It’s pure sex to my ears. But A Dark Poem Part III: The Messiah Complex is truly special. While many will talk about the closer more than any other track, Green Carnation saved some of their best material for last. The heavier tracks flow so well that you come to realize that they are just as classical as the orchestral piece. Reviewing this trilogy has been one of the highlights of my AMG career, and I can’t wait for you all to hear it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 4th, 2026

The time has finally arrived for the conclusion of Green Carnation’s epic A Dark Poem. If you’ve been following this journey, the band released the dark, brooding A Dark Poem Part I: The Shores of Melancholia last year to set the stage. Like The Matrix movies, this record works fine on its own, introducing a dark and chaotic side to the band. It was an exciting listen because, unlike previous Green Carnation records, The Shores of Melancholia was surprisingly one-sided instead of the band’s typical roundness. Which meant one of two things: either this trilogy would represent a much harsher version of the band, or we haven’t heard shit yet.

When A Dark Poem Part II: Sanguis dropped earlier this year, I was floored. Unlike The Matrix movies, Sanguis proved superior to its predecessor. But, as a pair, the experience is pure bliss. Out of the dark world of Melancholia came an album of hopelessness and severe depression. It’ll make you cry at one point, and scream at the skies at another. It also includes some of the best songwriting in Green Carnation’s thirty-six-year existence. So, how in the unholy hell can you fit in a finale? And even if you did, what would that sound like? I present to you the shocking A Dark Poem Part III: The Messiah Complex.

After all the ups-and-downs, intensity, emotion, and passion, The Messiah Complex arrives in a tight little package, consisting of a mere four songs with a thirty-eight-minute runtime. Which makes me realize how perfectly balanced these three records are because, when added up, they hover just below two hours of music. Of the three records, this new one feels the most progressive, and that progressiveness intensifies with each track. “Unconditional Artificial Chemistry” is an exceptional opener, delivering a pleasurable mid-paced groove, massive bass poppin’, and a classic Green Carnation chorus. It has Nordhus’ addictive melodic vocals, soothing guitar leads, and also some impressive key work.

The title track is the best on the record, but that’s silly to say when all four tracks are top-tier. But the combination of acoustic pluckings and hypnotic strummings puts us in the realm of Acoustic Verses. That’s before the head-bobbing chug takes over and gets this thing rockin’. At the midway point, we arrive at the calm before the storm. Then, the track really moves, climbing and roaring and soaring to its heavy conclusion. One of the cooler aspects of this song is the lead vocals by Green Carnation overload, Stein Sordal. “Broken Souls, Common Enemies” follows “The Messiah Complex” seamlessly, dropping some old-school progginess over a gorgeous chorus, nifty guitar leads, harpsichord action, and vicious rasps. After a gentle lull with acoustic guitars and flute, the song is flung up to a stratosphere over layered vocals, a sweeping atmosphere, and a stellar conclusion.

But the closing number, “A Dark Poem – Orchestral Suite,” is like nothing I’ve ever heard before. Executed by the Kristiansand Symphony Orchestra and Opera Choir, this nearly seventeen-minute song sees no distortion, no rumbling bass, and no vocals. Outside of the songwriting, you actually won’t hear a single peep from the band. It might be the most ambitious thing I have ever heard. By no means an expert in classical music, I can clearly hear Vivaldi inspiration here, with waves of strings, horns, woodwinds, and percussion that collide at the end in a massive conclusion. There’s no way I can describe it. It’s something one must hear. And it somehow is the perfect ending to this Ophelia-inspired epic.

At the end of this mighty journey, Sanguis still captivates me the most. It’s pure sex to my ears. But A Dark Poem Part III: The Messiah Complex is truly special. While many will talk about the closer more than any other track, Green Carnation saved some of their best material for last. The heavier tracks flow so well that you come to realize that they are just as classical as the orchestral piece. Reviewing this trilogy has been one of the highlights of my AMG career, and I can’t wait for you all to hear it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 4th, 2026

The time has finally arrived for the conclusion of Green Carnation’s epic A Dark Poem. If you’ve been following this journey, the band released the dark, brooding A Dark Poem Part I: The Shores of Melancholia last year to set the stage. Like The Matrix movies, this record works fine on its own, introducing a dark and chaotic side to the band. It was an exciting listen because, unlike previous Green Carnation records, The Shores of Melancholia was surprisingly one-sided instead of the band’s typical roundness. Which meant one of two things: either this trilogy would represent a much harsher version of the band, or we haven’t heard shit yet.

When A Dark Poem Part II: Sanguis dropped earlier this year, I was floored. Unlike The Matrix movies, Sanguis proved superior to its predecessor. But, as a pair, the experience is pure bliss. Out of the dark world of Melancholia came an album of hopelessness and severe depression. It’ll make you cry at one point, and scream at the skies at another. It also includes some of the best songwriting in Green Carnation’s thirty-six-year existence. So, how in the unholy hell can you fit in a finale? And even if you did, what would that sound like? I present to you the shocking A Dark Poem Part III: The Messiah Complex.

After all the ups-and-downs, intensity, emotion, and passion, The Messiah Complex arrives in a tight little package, consisting of a mere four songs with a thirty-eight-minute runtime. Which makes me realize how perfectly balanced these three records are because, when added up, they hover just below two hours of music. Of the three records, this new one feels the most progressive, and that progressiveness intensifies with each track. “Unconditional Artificial Chemistry” is an exceptional opener, delivering a pleasurable mid-paced groove, massive bass poppin’, and a classic Green Carnation chorus. It has Nordhus’ addictive melodic vocals, soothing guitar leads, and also some impressive key work.

The title track is the best on the record, but that’s silly to say when all four tracks are top-tier. But the combination of acoustic pluckings and hypnotic strummings puts us in the realm of Acoustic Verses. That’s before the head-bobbing chug takes over and gets this thing rockin’. At the midway point, we arrive at the calm before the storm. Then, the track really moves, climbing and roaring and soaring to its heavy conclusion. One of the cooler aspects of this song is the lead vocals by Green Carnation overload, Stein Sordal. “Broken Souls, Common Enemies” follows “The Messiah Complex” seamlessly, dropping some old-school progginess over a gorgeous chorus, nifty guitar leads, harpsichord action, and vicious rasps. After a gentle lull with acoustic guitars and flute, the song is flung up to a stratosphere over layered vocals, a sweeping atmosphere, and a stellar conclusion.

But the closing number, “A Dark Poem – Orchestral Suite,” is like nothing I’ve ever heard before. Executed by the Kristiansand Symphony Orchestra and Opera Choir, this nearly seventeen-minute song sees no distortion, no rumbling bass, and no vocals. Outside of the songwriting, you actually won’t hear a single peep from the band. It might be the most ambitious thing I have ever heard. By no means an expert in classical music, I can clearly hear Vivaldi inspiration here, with waves of strings, horns, woodwinds, and percussion that collide at the end in a massive conclusion. There’s no way I can describe it. It’s something one must hear. And it somehow is the perfect ending to this Ophelia-inspired epic.

At the end of this mighty journey, Sanguis still captivates me the most. It’s pure sex to my ears. But A Dark Poem Part III: The Messiah Complex is truly special. While many will talk about the closer more than any other track, Green Carnation saved some of their best material for last. The heavier tracks flow so well that you come to realize that they are just as classical as the orchestral piece. Reviewing this trilogy has been one of the highlights of my AMG career, and I can’t wait for you all to hear it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 4th, 2026

The time has finally arrived for the conclusion of Green Carnation’s epic A Dark Poem. If you’ve been following this journey, the band released the dark, brooding A Dark Poem Part I: The Shores of Melancholia last year to set the stage. Like The Matrix movies, this record works fine on its own, introducing a dark and chaotic side to the band. It was an exciting listen because, unlike previous Green Carnation records, The Shores of Melancholia was surprisingly one-sided instead of the band’s typical roundness. Which meant one of two things: either this trilogy would represent a much harsher version of the band, or we haven’t heard shit yet.

When A Dark Poem Part II: Sanguis dropped earlier this year, I was floored. Unlike The Matrix movies, Sanguis proved superior to its predecessor. But, as a pair, the experience is pure bliss. Out of the dark world of Melancholia came an album of hopelessness and severe depression. It’ll make you cry at one point, and scream at the skies at another. It also includes some of the best songwriting in Green Carnation’s thirty-six-year existence. So, how in the unholy hell can you fit in a finale? And even if you did, what would that sound like? I present to you the shocking A Dark Poem Part III: The Messiah Complex.

After all the ups-and-downs, intensity, emotion, and passion, The Messiah Complex arrives in a tight little package, consisting of a mere four songs with a thirty-eight-minute runtime. Which makes me realize how perfectly balanced these three records are because, when added up, they hover just below two hours of music. Of the three records, this new one feels the most progressive, and that progressiveness intensifies with each track. “Unconditional Artificial Chemistry” is an exceptional opener, delivering a pleasurable mid-paced groove, massive bass poppin’, and a classic Green Carnation chorus. It has Nordhus’ addictive melodic vocals, soothing guitar leads, and also some impressive key work.

The title track is the best on the record, but that’s silly to say when all four tracks are top-tier. But the combination of acoustic pluckings and hypnotic strummings puts us in the realm of Acoustic Verses. That’s before the head-bobbing chug takes over and gets this thing rockin’. At the midway point, we arrive at the calm before the storm. Then, the track really moves, climbing and roaring and soaring to its heavy conclusion. One of the cooler aspects of this song is the lead vocals by Green Carnation overload, Stein Sordal. “Broken Souls, Common Enemies” follows “The Messiah Complex” seamlessly, dropping some old-school progginess over a gorgeous chorus, nifty guitar leads, harpsichord action, and vicious rasps. After a gentle lull with acoustic guitars and flute, the song is flung up to a stratosphere over layered vocals, a sweeping atmosphere, and a stellar conclusion.

But the closing number, “A Dark Poem – Orchestral Suite,” is like nothing I’ve ever heard before. Executed by the Kristiansand Symphony Orchestra and Opera Choir, this nearly seventeen-minute song sees no distortion, no rumbling bass, and no vocals. Outside of the songwriting, you actually won’t hear a single peep from the band. It might be the most ambitious thing I have ever heard. By no means an expert in classical music, I can clearly hear Vivaldi inspiration here, with waves of strings, horns, woodwinds, and percussion that collide at the end in a massive conclusion. There’s no way I can describe it. It’s something one must hear. And it somehow is the perfect ending to this Ophelia-inspired epic.

At the end of this mighty journey, Sanguis still captivates me the most. It’s pure sex to my ears. But A Dark Poem Part III: The Messiah Complex is truly special. While many will talk about the closer more than any other track, Green Carnation saved some of their best material for last. The heavier tracks flow so well that you come to realize that they are just as classical as the orchestral piece. Reviewing this trilogy has been one of the highlights of my AMG career, and I can’t wait for you all to hear it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 4th, 2026

The time has finally arrived for the conclusion of Green Carnation’s epic A Dark Poem. If you’ve been following this journey, the band released the dark, brooding A Dark Poem Part I: The Shores of Melancholia last year to set the stage. Like The Matrix movies, this record works fine on its own, introducing a dark and chaotic side to the band. It was an exciting listen because, unlike previous Green Carnation records, The Shores of Melancholia was surprisingly one-sided instead of the band’s typical roundness. Which meant one of two things: either this trilogy would represent a much harsher version of the band, or we haven’t heard shit yet.

When A Dark Poem Part II: Sanguis dropped earlier this year, I was floored. Unlike The Matrix movies, Sanguis proved superior to its predecessor. But, as a pair, the experience is pure bliss. Out of the dark world of Melancholia came an album of hopelessness and severe depression. It’ll make you cry at one point, and scream at the skies at another. It also includes some of the best songwriting in Green Carnation’s thirty-six-year existence. So, how in the unholy hell can you fit in a finale? And even if you did, what would that sound like? I present to you the shocking A Dark Poem Part III: The Messiah Complex.

After all the ups-and-downs, intensity, emotion, and passion, The Messiah Complex arrives in a tight little package, consisting of a mere four songs with a thirty-eight-minute runtime. Which makes me realize how perfectly balanced these three records are because, when added up, they hover just below two hours of music. Of the three records, this new one feels the most progressive, and that progressiveness intensifies with each track. “Unconditional Artificial Chemistry” is an exceptional opener, delivering a pleasurable mid-paced groove, massive bass poppin’, and a classic Green Carnation chorus. It has Nordhus’ addictive melodic vocals, soothing guitar leads, and also some impressive key work.

The title track is the best on the record, but that’s silly to say when all four tracks are top-tier. But the combination of acoustic pluckings and hypnotic strummings puts us in the realm of Acoustic Verses. That’s before the head-bobbing chug takes over and gets this thing rockin’. At the midway point, we arrive at the calm before the storm. Then, the track really moves, climbing and roaring and soaring to its heavy conclusion. One of the cooler aspects of this song is the lead vocals by Green Carnation overload, Stein Sordal. “Broken Souls, Common Enemies” follows “The Messiah Complex” seamlessly, dropping some old-school progginess over a gorgeous chorus, nifty guitar leads, harpsichord action, and vicious rasps. After a gentle lull with acoustic guitars and flute, the song is flung up to a stratosphere over layered vocals, a sweeping atmosphere, and a stellar conclusion.

But the closing number, “A Dark Poem – Orchestral Suite,” is like nothing I’ve ever heard before. Executed by the Kristiansand Symphony Orchestra and Opera Choir, this nearly seventeen-minute song sees no distortion, no rumbling bass, and no vocals. Outside of the songwriting, you actually won’t hear a single peep from the band. It might be the most ambitious thing I have ever heard. By no means an expert in classical music, I can clearly hear Vivaldi inspiration here, with waves of strings, horns, woodwinds, and percussion that collide at the end in a massive conclusion. There’s no way I can describe it. It’s something one must hear. And it somehow is the perfect ending to this Ophelia-inspired epic.

At the end of this mighty journey, Sanguis still captivates me the most. It’s pure sex to my ears. But A Dark Poem Part III: The Messiah Complex is truly special. While many will talk about the closer more than any other track, Green Carnation saved some of their best material for last. The heavier tracks flow so well that you come to realize that they are just as classical as the orchestral piece. Reviewing this trilogy has been one of the highlights of my AMG career, and I can’t wait for you all to hear it.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 4th, 2026

https://www.europesays.com/uk/1186182/ Review: Shabti – Haze, Cacophony, and White Light #2026 #8 #August #BlackMetal #ContemnLightRecords #DeathMetal #EnglishLyrics #Entertainment #HarshVocals #Maine #MelodicBlackMetal #MelodicDeathMetal #music #ProgressiveDeathMetal #ProgressiveMetal #UK #UnitedKingdom #UnitedStates

https://www.europesays.com/nl/301414/ Green Carnation – A Dark Poem, Part III: The Messiah Complex #ADarkPoemPartIii:TheMessiahComplex #Amusement #Dutch #Entertainment #GreenCarnation #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #prog #ProgressiveMetal #SeasonOfMist

https://www.europesays.com/be-nl/135902/ Green Carnation – A Dark Poem, Part III: The Messiah Complex #ADarkPoemPartIii:TheMessiahComplex #Amusement #BE #België #Belgium #Entertainment #GreenCarnation #Music #Muziek #prog #ProgressiveMetal #SeasonOfMist

Though Gorod began as a more conventional technical death metal outfit, progressive songwriting seeps deeper into their bones with each release. The 2010 additions of vocalist Julien Deyres and Nicolas Alberny augured this shift, as 2011’s Transcendence EP and 2012’s A Perfect Absolution encouraged unconventional song structures to complement the band’s knife-edged precision. In this way, I consider Gorod to be the stylistic antithesis of Archspire within technical death metal. Rather than going bigger and faster like the speed-freak Canucks, Gorod takes a more measured approach that, while brisk and exciting, tempers their dispatches with nuance and poise. Both bands succeed down their chosen paths, and the exercise of comparison isn’t about pitting them against one another as much as demonstrating the differences in how the genre can diverge. Given Gorod’s penchant for intricately crafted drama, can eighth album, The Ember Gone, rekindle their elegant allure?

Pivoting from Gorod’s recent theses of celestial bodies and the mythologies they inspire,1 The Ember Gone finds the French quintet examining more recent and pressing matters surrounding man’s role in ecological disasters. This theme carries an especially stark timeliness given the wildfires that broke out in southern France after the band began promoting The Ember Gone. Despite the change in prevailing inspiration, though, Gorod’s musical approach remains intact. Flurries of snaking riffs and clever bass countermelodies propel the album forward, this time adopting slinky grooves (“Regret,” “Ignite”) and reverb-saturated textures (“Forgiveness”) in addition to their expected acrobatics (“Remains”). Rest assured Gorod still reminds of Psycroptic, Augury, and Obscura, although this time around subdued undercurrents lighten The Ember Gone’s grandeur in favor of more intimate compositions.

On the surface, The Ember Gone doesn’t stray too far from the music of Æthra or The Orb. Guitar duo Mathieu Pascal and Nicolas Alberny unleash sidewinding flutters of perpetual riffs (“Signs,” “Remains”), occasionally relinquishing the fretboard gymnastics to build momentum with staccato chord bursts (“Devise”) or to instill emotion via delicate sustains (“Forgiveness,” “Ember”). Benoit Claus also commands attention with a sprightly bass performance, rarely content to play under what Pascal and Alberny construct. Instead, he pursues sinuous grooves that embolden Gorod’s stringed attack (“Devise,” “Ignite”). Deyres delivers an effective performance as well, especially on “Forgiveness” and “Regret,” as he unfurls stirring cleans that accompany his abrasive growls. Drummer Karol Diers likewise submits a solid outing, although he often falls into the background compared to his immediate and off-kilter patterns that made all-out brawlers “The Sentry,” “We Are the Sun Gods,” and “Breeding Silence” so explosive on prior albums.

Given how the same essential building blocks undergird Gorod’s recent releases, something feels like it’s missing from The Ember Gone. Æthra and The Orb dedicated runtimes to exploring various themes related to the moon and sun, and the music felt appropriately epic. With The Ember Gone’s thematic lens zooming in on humanity’s environmental negligence, the music too often dwells in melancholic lament. In fairness, this is an appropriate reaction, yet I yearn for some biblically righteous indignation that fans Ember’s flames into a raging inferno. Regardless, the music is unerringly gorgeous and feels richer than the DR 6 suggests, and every instrument sounds sinewy and potent while Deyres’s mix of clean and harsh vox cuts through. I’m also shocked at the number of plays I’ve accumulated over just a few days, and while part of that was born from necessity, I find myself drawn back to Gorod again and again.

Although The Ember Gone doesn’t reach the same heights as their other recent output, Gorod nonetheless delivers an invigorating dose of proggy tech death that should satisfy fans. In turns introspective and ferocious, The Ember Gone smolders with an understated confidence that stokes my appreciation higher with each listen. Evaluating it has presented an agonized challenge, as Gorod resolutely exemplifies what I love about both progressive and technical metal, yet I can’t escape the feeling that too much of The Ember Gone’s urgency is siphoned by restraint. Still, this review required a quick turnaround and even the little time I’ve spent with Gorod’s latest proves it’s a potent grower. Perhaps by the end of the year I’ll realize that The Ember Gone’s eminence was just a very slow burn.

Rating: Very Good!!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Base Productions
Websites: Official | Facebook | Instagram
Releases Worldwide: August 28th, 2026

Roughly a decade ago, I obsessively hunted and consumed anything and everything I could find that claimed to be symphonic metal. At some point, though, the genre appeared to become dominated by poppy acts who added keyboards more like an afterthought. But, as if to grant my foregone wish, Ledmotiv has emerged from Gothenburg, Sweden, to put the symphony back into symphonic metal. Captained by composer Viktor Hakan, The Ghost of Carrion was written as a holistic suite and recorded with an array of authentic orchestral instruments. Ledmotiv may be a small band now, but they have big dreams of playing in arenas someday. Given that this, their sophomore record, totals a whopping 75 minutes, their songs must be especially dazzling in order to prevail.

Luckily, Ledmotiv has the skills to make their lofty aspirations a reality. The basis of this mad science experiment is the buoyant rock operas of Avantasia mixed with ultra-catchy Ghost anthems. As reagents, we have the orchestral bombast of Nightwish and the borderline-Broadway theatricality of Ayreon or Scardust. To cap it all off, Nils Leufvenius sprinkles ample quantities of melodic guitar soloing that frequently flirt with power/prog metal territory. All in all, The Ghost of Carrion is very high in sugar, but also contains a great deal of substance, making it digestible without inducing a stomachache.

Although The Ghost of Carrion is a concept album, Ledmotiv keeps the focus where it belongs—on superb songcraft. It’s hard to overstate the importance of the elaborate orchestral compositions in making this so much richer than a collection of arena rock songs. I particularly love when these instruments are brought from a supporting role to the forefront. Oskar Valeberg’s elegant cello gets the spotlight in the intro of “Mother Opus” and a brief solo in “Eureka.” Elsewhere, Miguel Chamorro brings the heat with sizzling violin strings in “What Have I Missed?” that could send the Devil scuttling back to Georgia. Instead of depending on a star-studded cast of voice actors (as Ayreon does), Vide Bjerde’s charismatic and heartfelt performance propels things along with a wide vocal range. He really belts out his lines when it matters most, “For Fire to Behold” and “Eureka” being some of his standout performances. Spoken dialogue is, thankfully, minimal, only popping up a few times during the entire 75 minutes.

Such a long runtime affords many opportunities for things to go awry, but The Ghost of Carrion somehow stays squarely on the rails for the most part. Each of the ten tracks can stand alone, with no irksome intros or interludes. They are bound together by oft-recurring leitmotifs1 introduced early on in “Come to the Light.” Ballads are where many a metal album loses its footing, but Ledmotiv manages to make “Gem of Amber” just as musically enticing with poignant vocal and violin swells. “The Shadow and the Caster,” the nearly 15-minute centerpiece, is a rockin’ ride where each segment segues into the next, occasionally channeling the wacky energy of Queen’s “Bohemian Rhapsody.” Alas, Ledmotiv does finally begin running out of steam in “Be All, End All” and “Deep in the Cauldron,” both a tad more languid than The Ghost of Carrion needs to be as it crests the 1-hour mark.

Even so, it’s genuinely impressive that Ledmotiv was able to formulate as much stellar material as exists in The Ghost of Carrion. It’s also refreshing to encounter a concept album that largely lets the music do the talking. This is a veritable wellspring of creativity, a rare record that appeals to me just as much now as it would have if I had heard it ten years ago. Anyone else who isn’t afraid to feast on the aural equivalent of fluffy, decadent cheesecake should dive right in. It feels like the sky is the limit for Ledmotiv at this early stage of their career, and I’m eager to see how high they can soar.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ledmotiv.bandcamp.com | facebook.com/Ledmotivofficial
Releases Worldwide: August 27th, 2026

Today's music:

Fractal Sun - Trail of Pain

https://youtu.be/jPY-3MWuDDI

#metal #ProgressiveMetal #CostaRica #music #np #NowPlaying #MastoMusic

Currently on: Scene Eight: The Spirit Carries On by Dream Theater. Give the notes a look.

https://chordyes.com/chord/dream-theater-scene-eight-the-spirit-carries-on

#guitarcommunity #guitarfamily #american #malevocalist #progressivemetal #epic #philosophical

Anchored by a somber weight and deep emotional pain impacting the connective tissue binding Mastodon over the decades, Marrow Deep signals a new era for the Atlanta heavyweights. Ninth album, and first since 2021’s bloated and occasionally brilliant double opus, Hushed and Grim arrives on the back of turbulent and traumatic times. Enigmatic founding member, uber-talented axeman/vocalist, and all-round wild man Brent Hinds parted ways in tense circumstances in March twenty-twenty-five, before tragically passing away in a motorcycle accident in August of the same year. The tragedy surrounding Hinds’ premature death hangs heavily over Marrow Deep’s conception. The remaining core trio of bassist/vocalist Troy Sanders, drummer/vocalist Brann Dailor, and guitarist Bill Kelliher composed the album, fleshing out the material with fresh members, guitarist Nick Johnston and keyboardist/synth player João Nogueira. Marrow Deep exorcises tense emotional grief, and like its predecessor, pulls on the heartstrings.

Listeners who tapped out following Crack the Skye will find little here to bring them back into the fold. Following the exhaustive length of Hushed and Grim, cut down to size, Marrow Deep still sports a hefty 65-minute runtime. Peppering their progressive metal and sludge rock core with heady psych and stoner influences, alongside mellower rock and prog fare, Marrow Deep is also frequently direct and punchy. “Your Ghost Again” signals a fitting tribute to their fallen brother, anchored by urgent, driving verses, blossoming into haunting melodies, playful prog and a crushing climax. Fellow singles also fare well, such as the keyboard freakout and effective, minimalist cameo from Josh Homme (Queens of the Stone Age) on “Snakes for Dinner,” or the impressively raw, gut-wrenching Sanders vocal performance on the doomy ” Ruins,” inspired by the personal events of Hurricane Helene.

Dailor’s smooth, though divisive, melodic vocals, alongside the deceptively dynamic bellows and rough vox of Sanders, sound confident, impassioned, and familiar, while the increased integration of keys and synths enlivens the Mastodon formula, adding texture and swirling psychedelia into the sludge rock and progressive metal populating infectious, riff-driven songcraft. Heavier and more energetic than its predecessor Marrow Deep often hits with impact. Featuring a bending, genuinely heavy swagger, opener “Barbarians Blood” eventually unleashes a turbo-charged, thrashy, punk-metal groove that goes hard. Equally potent, “Poisonous Weapons” demonstrates Mastodon can still crush and destroy through dense, riffy sludge with a bitter edge. Upping the aggressive ante, Nate Newton (Converge/Cave In) and Randy Blythe (Lamb of God) lend their vocal talents to the fiery blast of “A Vampire’s Demeanor.” Elsewhere, the legendary Geezer Butler (Black Sabbath) supplies signature, tasty bass licks on the intro to the trippy, psych-leaning odyssey of “The Vanishing,” while Clutch’s Neil Fallon showcases his gruff preaching on jam-infested finale, ‘The Three Fates.” Gears shift on “Golden Spires,” sweetly balancing the album’s melodic sways and heavier surges through towering riffs and striking dynamics.

Loaded with technical and progressive flair listeners have come to expect, performances are super tight. Johnston fills the Hinds void admirably, without simply replicating his admired predecessor. A hugely competent shredder, Johnston puts his own stamp on Marrow Deep, getting a particular opportunity to exhibit his classy soloing on Marrow Deep’s more exploratory, psych and stoner heavy tunes (“The Vanishing,” “Moth and Bone,” and monolithic closer “The Three Fates”). Dailor’s drumming is as intricate and creative as ever, without overplaying his hand, and the Dailor/Sanders vocal combo sounds confident and assured. Unfortunately, Marrow Deep is saddled with a crunchy but overly clean production and compressed mastering job sapping some of the album’s sonic power. Concerning self-editing issues also surface, and while most the material lands, there are occasional lulls and plods suggesting some shrewder editing may have been required.

For all of Marrow Deep’s strengths and fresh designs, the absence of Hinds is strongly felt. Whether through his songwriting contributions or unique guitar style, which cleverly incorporated outside influences, such as bluegrass and southern rock twang, into Mastodon’s progressive sludge formula. Meanwhile, his hugely expressive, soulful soloing and unmistakable vocals feel odd to be missing; moments occur where you half expect a Hinds vocal to pop up. Gripes aside, Marrow Deep is a better album than expected considering the massive hole left by Hinds’. Credit to the remaining members and new blood for forging ahead with optimism, crafting an entertaining opus. Time will tell where Marrow Deep fits in the greater Mastodon canon. As it stands, Marrow Deep marks a rejuvenated, cathartic, nerve-poking transitional turn from Mastodon.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Lousy Stream
Label: Lorna Vista Recordings
Websites: mastodonrocks.com | Bandcamp
Releases Worldwide: August 28th, 2026

Mother of Millions Unveil Powerful New Single “The War”

https://voiceofnoir.com/2026/08/29/mother-of-millions-unveil-powerful-new-single-the-war/

Today's music:

Rakshasa - 蝶々花火

https://youtu.be/rxws0NSCX5U

#metal #BlackMetal #ProgressiveMetal #japan #music #np #NowPlaying #MastoMusic

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

New review: "#Sarvaega demonstrate that #DoomMetal can still be dark, heavy, and atmospheric without sacrificing dynamics, melody, or emotional impact." #ExposeOnline #GothRock #progressiveRock #ProgressiveMetal http://expose.org/index.php/articles/display/sarvaega-postumo-6.html

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

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

Kenstrosity’s Thrashed Thrall

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

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

ClarkKent’s Prehistoric Pulls

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

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

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

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

Grin Reaper’s Spring Fling

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

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

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

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

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

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

Spicie Forrest’s Nostalgic Nugget

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

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

When one pictures Rio de Janeiro, Brazil, post-metal is probably not among the imagery that readily springs to mind. But the more I think about it, the more the birthplace of Loneshore makes sense. Just as post-metal is often defined by striking contrasts, so is Rio, a city where mountains and beaches coexist alongside favelas and wealthy communities. This diversity is mirrored in Loneshore’s sophomore record, Nothing Left to Deconstruct, which arrives nearly eight years after their 2018 debut, From Presence to Silence. How have the members of Loneshore matured as musicians during this time?

It turns out that Loneshore wasn’t always primarily a post-metal group. From Presence to Silence blended somber, doomy melodeath similar to Eternal Storm with Opethian melodies. Nothing Left to Deconstruct, however, squarely straddles the line between post-metal and Explosions in the Sky-esque post-rock, while adopting Amenra’s silvery-smooth buildups and releases. Loneshore retains some progressive metal, although this time it’s closer to The Ocean, especially during some of the clean-sung passages in “To Stride the Black Earth.” In fact, Luiz Felipe Netto’s clean and harsh vocal styles both cover a wide array of registers. Nothing Left to Deconstruct is no less lush from an instrumental perspective, making it an enjoyable listen from front to back.

Nothing Left to Deconstruct flows like a river, though don’t expect many whitewater rapids. Intro track “Self Oscillations” is like a gentle tributary, its dreamy vocal harmonies, mild guitar notes, and mesmerizing tom drum percussion rolling fluidly into “Straylight.” Loneshore makes good use of three guitarists and a bassist by overlapping their lines together sumptuously (“Parhelion,” “Of Lost Waters”). The 10-minute centerpiece “Birth of a Mountain” features a laid-back recurring melody that rises and falls like a sea of sand dunes. That said, there are sometimes surges of vehemence in the form of blackened snarls and forceful riffs (“Straylight,” “To Stride the Black Earth,” “Parhelion”). Because Loneshore doesn’t overly favor hooks or heaviness, Nothing Left to Deconstruct is a bit of a slow burn, requiring a few complete spins to sink in for me.

As relaxing as Nothing Left to Deconstruct is overall, most of its individual songs last longer than their contents can support. The majority hover around the 8-minute mark, and all of these have lengthy outros that don’t add much. “Of Lost Waters” begins with a pristine and serene post-rock tune, which is diminished by the minute-and-a-half meandering conclusion of “Birth of a Mountain” that came before. Likewise, concluding track “With Nothing We Part” is the most languid and least memorable despite a momentary injection of vitality at the halfway point. On the other hand, “To Stride the Black Earth” is the punchiest and has no noticeable fluff. While the total runtime sits at a fairly reasonable 52 minutes, there is a stronger 40 to 45-minute record lurking within.

It’s not uncommon for artists’ priorities to shift during a lengthy absence; in this case, Loneshore is the better for it. The post/prog metal hybrid Nothing Left to Deconstruct passes by like a pleasant ocean breeze in Rio de Janeiro. It took some time for me to fully appreciate it, but I’m glad I did. The main deficiencies holding back Nothing Left to Deconstruct are a lack of decisive conclusions and a bit of bloat. Nevertheless, if Loneshore continues to develop in this manner, I anticipate great things from album number three.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: loneshore.bandcamp.com | facebook.com/Loneshore
Releases Worldwide: June 19th, 2026

#NowPlaying #Evergrey

I really dig this album and next month a new release is coming! I'm really curios how it will sound like :D

https://album.link/gwm4qdchfmwqp

#metal #progressivemetal #melodicmetal

It’s easy to take the Internet for granted, given how ubiquitous it is these days. A couple of decades ago, it would have been unthinkable for someone like me who lives in the United States to stumble upon music made by a group from Eigg. Hailing from this small Scottish island—with a population of only about 100—Joe Cormack and Pete Colquhoun formed Electric Sun Defence following the early dissolution of their former group, The Massacre Cave, after just one album that was released in 2020. Estuary represents the next step along this trail of spirited progressive/post-metal that these two bandmates began blazing years ago.

It turns out that Estuary is an apt metaphor for Electric Sun Defence’s music. Estuaries, formed when freshwater rivers mix with the salty ocean, account for some of the world’s most productive wildlife ecosystems. Similarly, Estuary inhabits the sweet spot between the melodicism of prog and the coarse textures of post-metal. Much like The Ocean and Void of Light, Electric Sun Defence is prone to change from tranquil to tempestuous at a moment’s notice. The flurries of activity are glued together with delicious, delicate post-rock segments in the vein of pg.lost or Red Sparowes. The balance between these competing interests can feel fragile at times, but they manage to coexist and enrich their musical environment together.

Estuary’s standout strength is the masterful buildup and discharge of tension. This is immediately clear as the title track begins, layering bass and horns atop cymbal taps and serene guitars, then eventually erupting into a furious post-metal wave. “Fountain of Blood” takes things further with harsh guitar riffs that also contain the perfect amount of groove. “The Master’s Garden” deftly winds between glassy post-rock and distorted chords, climaxing with an intricate guitar melody. Though the intensity waxes and wanes, there is a clear trend of increasing aggression as Estuary progresses, becoming more like a combination of Cult of Luna and Dvne for the final two tracks, “Phantom Limb Amputee” and “In Bestia.” During the latter, Pete Colquhoun really gets to let loose with forceful and frenetic rhythms behind the kit. Don’t let the monochromatic album art fool you; Electric Sun Defence paints with a wide array of aural hues.

The dynamic composition is good, but when paired with an intuitive flow, the experience borders on transcendent. Each track fluidly transitions to the next, and the fact that none of them exceeds 8 minutes helps to keep Estuary from becoming stale. This is a rare instance of the shorter interlude tracks serving a larger purpose, albeit in a subtle way. “Spiderweb” is pretty enough that I can look past its bothersome soundbites, and “Dysmorph” functions as a reprieve while setting the stage for the raging “Phantom Limb Amputee” that follows. The grouping of these tracks with the shoegaze elements in “Choke Leper” causes the momentum to sag a little, but not terribly so. Another minor weak point is that the vocals—especially the cleans—can sound muffled, but the strength of the instruments helps compensate.

Though I entered Estuary with no expectations, it turned out to be exactly what I was looking for at the time. It keeps the listener guessing from moment to moment with the continual assurance that they’ll love whatever comes next. Electric Sun Defence shows their versatility by wielding both emotive melody and crushing ferocity. Albums like this make me pause and appreciate the privilege we have to conveniently access great music from all over the world. Electric Sun Defence might be the best metal group in Eigg by default, but they can give others in larger regions a serious run for their money too.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Road To Masochist
Websites: electricsundefence.bandcamp.com | facebook.com/people/Electric-Sun-Defence
Releases Worldwide: May 8th, 2026

10/10 review for Timeless Rage - My Kingdom Come
https://metalallovertheworld.blogspot.com/2026/05/review-timeless-rage-album-my-kingdom.html
do you agree?

What do you think about our darker take on the genres?
#powermetal #symphonicmetal #progressivemetal #melodicmetal

Metalheads Forever Magazine‬ invited us for an interview about our Dark Symphonic Power Metal endeavour.

https://mhf-mag.com/interview-with-germanys-dark-symphonic-power-metal-band-timeless-rage/

Also on YouTube
https://www.youtube.com/watch?v=km77Zbjld2A

#powermetal #symphonicmetal #progressivemetal #melodicmetal

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

One month ago Timeless Rage released the Dark Symphonic Power Metal concept album "My Kingdom Come" with a full music video for the title track
current highlights:
- German Metal - Rock - Charts top 30 since 4 weeks, now at position 24
- loved by the press: many 85/100 review ratings and listed in top 5 releases of March
- 132.000 views for title track video on YouTube
- 78.500 streams on Spotify
https://linktr.ee/timelessrage for more

#powermetal #symphonicmetal #melodicmetal #progressivemetal

Thanks to you, the new Timeless Rage album
"My Kingdom Come" climbed to position 24 of the German Metal - Rock - Charts this week. THANK YOU!
Can we go up to the top 20 next week?
Please tell your friends about us!
#powermetal #symphonicmetal #melodicmetal #progressivemetal

For @DXMacGuffin's #ProgTuesday:

#Mire: Pale Reflection

https://album.link/t/490123017

#ProgressiveMetal

FFO #AscendTheHelix #EasternHigh #Stengah

This is the epitomy of "nailing it on the first and last take"

https://www.youtube.com/watch?v=IZYplRv1qAA

#DaveMatthewsBand #Drumeo #Music #Drums #Drumming #Music #BlakeRichardson #BetweenTheBuriedAndMe #BTBAM #ProgressiveMetal #Prog #ProgressiveRock #ProgMetal #ProgRock

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026

Once upon a time, before I was a battle-jacket-wearing, corpse-paint-adorned, trve-metal warrior of the highest order, I was a high-school prog nerd. The djent wave was cresting just as I began to really delve deeper into music, and the hordes of technical, djenty bands with ultra-modern production and surprising amounts of melody still sit near and dear to my heart, even if I rarely reach back into the Sumerian-scented pile in my regular listening habits. 1 That’s why when I saw the promo for Hiraeth, the 2nd album by Brazilian prog metallers Abstracted, with comparisons to The Contortionist, The Human Abstract, and Between the Buried and Me, I couldn’t help but get a little excited at the prospect of newer music tapping into those formative sounds. Abstracted have been a band since 2013, and their long-gestating debut record, 2022’s Atma Conflux, was an effective and varied slab of djenty progressive death metal, marred by tepid production and less-than-stellar clean vocals. More than anything, though, it showed potential as a record brimming with ideas that was so close to being great. With Hiraeth, can the Brazilian group finally unify their influences into something more than the sum of their parts?

On Hiraeth, Abstracted demonstrates a thorough understanding of contemporary progressive metal styles and integrates them into something all their own. The band’s main sound is a djent-fueled take on modern progressive death metal, closest to early-era The Contortionist in its blending of odd-meter riffery, post-rock-influenced textures, and an enticing contrast between melancholic space-age cleans and technical 6-string chugs. Abstracted balance this with more traditional Haken-esque classic prog turnarounds and jazz breaks (“Sirens”), fast-paced Between the Buried and Me riff marathons (“To Quench This Insatiable Thirst”), and harmonic nuance within darker moments à la Persefone (“Requiem”). The result is a varied and dynamic set of tunes that glide effortlessly between impressive riff-fueled aggression and cathartic melodies. Songs like “The Utter End” and “The Barren Grave of God” demonstrate the band’s ability to naturally move from strength to strength without missing a beat, unfolding across expansive guitar arpeggios, delightfully off-kilter breakdowns, virtuosic solos, and powerful musical climaxes.

Hiraeth by Abstracted

This level of fluidity and genre cohesion on Hiraeth is only made possible by the high level of musicianship Abstracted display. Guitarists José Consani and Leonardo Brito give varied performances that successfully meld more djent-centric playing with classic death metal sensibilities and demonstrate keen melodic ears with dense jazz chords and powerful lead lines. Drummer Fernando Pollen blends Latin grooves with acrobatic modern metal flourishes, and the production’s more natural drum tone allows his dynamic nuances to guide several songs. 2 On bass, Riverton Alves turns in a thoroughly warm and jazz-based, Cynic-flavored performance that shines during quieter moments, while keyboardist Carol Lynn supplies plenty of atmosphere through subtle synth textures and steps to the forefront a few times with quirky, but effective synth lines reminiscent of Diego Tejeida. Together, this ensemble breathes plenty of life into a style of music that can often feel over-processed, and their performances help to unify this collection of songs into a cohesive whole.The only elements of Hiraeth that aren’t immediately impressive are the vocals and the production. Rosano Pedro Matiussi delivers an impassioned performance, and his vocal lines often fit the songs well, but his clean singing lacks a certain impact or personality to elevate good moments into great ones. Initially, this was enough to deter me from really digging deeper and appreciating the songcraft on display, but the singing grew on me quite a bit with time. Similarly, his death growls are solid, if not one-note, and they feel like they exist more so to fill a role than to accent particular sections. This could potentially be the production’s fault, as Hiraeth sounds generally good and more natural than the swaths of overproduced modern prog 3 but lacks a certain sonic clarity, occasionally making especially dense sections harder to parse. There’s a distinct lack of reverb on the harsh vocals, and I can’t help but wonder if a stronger mix could fit the layered clean singing a bit better. Matiussi’s vocals are far from bad, and there are parts like the somber intro to “Requiem” where he sounds great, but when everything else is operating at such a high level, they feel like a weak link.

With Hiraeth, Abstracted have delivered an impressive piece of modern progressive metal. This record is a grower for sure, with dense and layered compositions often revealing their clever construction and intense interconnectedness only after repeated spins. Even if the vocals leave a little to be desired, the Brazilian group has successfully combined the sounds of several of the best modern prog bands into something exciting and nuanced.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: M-Theory Audio
Websites: abstractedmetal.bandcamp | facebook.com/abstractedbr
Releases Worldwide: February 20, 2026