#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

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

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

Black metal and the violin go together like peanut butter and jelly, which makes it particularly exciting when an artist who is accomplished in both steps forward. Weft is the solo endeavor of Charlie Anderson, the live violinist for Panopticon. His debut album, The Splintered Oar, is one of two releases by Bindrune Recordings on the weekend before the beginning of Listurnalia 2025.1 Nevertheless, this is a record that should not go unnoticed during the time of year when many of us have adopted either a backward- or forward-looking mindset.

Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

The Splintered Oar by Weft

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

Quiet morning, so some prog metal seems just right. (Also Break My Lying Tongue is still an excellent song.)

Friend of a Phantom - VOLA

https://volaband.bandcamp.com/album/friend-of-a-phantom

Gofundme to rebuild after their devastating fire losses:
https://www.gofundme.com/f/vola-warehouse-fire

#VOLA #NowListening #ProgressiveMetal

Between the Buried and Me – The Blue Nowhere [Things You Might Have Missed 2025]

By Samguineous Maximus

When it comes to full-length albums, Between the Buried and Me never repeat themselves. 1 Since reaching the upper tier of prog-nerdery with Colors in 2007, the North Carolina outfit has maintained a devoted fan base by continually reshaping their long-form progressive metalcore. That drive to evolve has always carried both risk and reward. Their last widely agreed-upon “great” record is 2012’s Parallax 2: The Future Sequence, 2 and every release since has had its champions and detractors. I loved their shift toward more operatic prog rock on Coma Ecliptic (2015), a direction that felt natural and engaging, but their run on Sumerian Records with Automata I and II (2018) and Colors II (2021) left me wanting more. Those albums feature plenty of strong moments, yet they’re a bit bloated and sometimes feel like BTBAM-by-numbers. With their move to Inside Out Music and the departure of longtime guitarist Dusty Waring, another shift seemed inevitable, with longtime fans like me wondering if the band could deliver another impressive offering. I’m happy to say The Blue Nowhere sticks the landing. It’s an impressive record that finds BTBAM confident, energized, and willing to explore new ideas while refining the familiar.

One of the most compelling aspects of The Blue Nowhere is the genre exploration BTBAM undertakes on nearly every track. In their earlier work (Alaska, Colors), BTBAM often veered into Mr. Bungle–esque genre detours as brief respites from their riff-salad, 3 Over time, these moments have gradually evolved into elements that feel more organically woven into the songs’ DNA. On The Blue Nowhere, that evolution reaches full maturity, with tracks built around key genre incorporations that bring a sense of playfulness and ingenuity to the A side, making the lengthy record breeze by. From a funkalicious opener that careens between tasty chicken-scratch guitars and soaring, progtastic choruses (“Things We Tell Ourselves in the Dark”), to a delightful bluegrass motif that anchors a rambunctious tune (“Absent Thereafter”), to an industrial-tinged rager that culminates in one of the band’s classic breakdowns (“God Terror”), the opening salvo showcases a band fully at ease melding their signature sound with unexpected combinations—and achieving stellar results.

None of these genre experiments would matter much, however, if the band lacked strong songs to support them. Fortunately, BTBAM excel in that department. The record’s B-side continues to explore new sonic territory for BTBAM, from an extended, vaudevillian, string-led passage (“Slow Paranoia”) to a post-rock–influenced climax (“Beautifully Human”), but the latter half is especially focused on sharpening their songwriting to a level it has never quite reached before. “Psychomanteum” and “Slow Paranoia” present the band at their very best, seamlessly blending breakneck pacing and technical wizardry with memorable hooks and an unmistakable sense of fun, earning their place alongside my favorite classic tracks and never once feeling their 11-plus-minute runtimes. It’s in the closing pair of tracks, though—“The Blue Nowhere” and “Beautifully Human”—that the album truly drives home its impact. These are cleaner, more somber compositions than nearly anything the band has released before, 4 complete with lush synth layers and captivating vocal harmonies. Together, they highlight BTBAM’s ability to craft powerful, emotionally resonant songs that place their impeccable musicianship firmly in service of the composition, serving as the finishing touch to an already excellent record.

The Blue Nowhere is Between the Buried and Me’s most exciting and fully realized release in years. It’s unmistakably BTBAM, yet it finds the band fully comfortable with their evolution, delivering an impressive set of layered, intricate, and emotionally resonant tracks. The record feels like a return to form, with the group confidently rediscovering their footing and producing one of the strongest prog releases of the year.

Tracks to Check Out: “God Terror,” “Absent Thereafter,” “Slow Paranoia,” “Beautifully Human”

#2025 #AmericanMetal #AvantGarde #BetweenTheBuriedAndMe #InsideOutMusic #Metalcore #ProgressiveMetal #ProgressiveRock #TheBlueNowhere #ThingsYouMightHaveMissed2025 #TYMHM

Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

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

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

Kenstrosity’s Riffy Representation

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

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

Andy-War-Hall’s Succulent Surplus

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

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

Spicie Forrest’s Punky Proferrings

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

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

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

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

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

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

ClarkKent’s Gratifying Goodies

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

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

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

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

Grin Reaper’s Haunted Harvest

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

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

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

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

Dolphin Whisperer’s Autumnal Anomoly

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

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

Saunders’ Slinky Sneaks

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

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

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

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

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

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

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

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Monograf – Occultation Review

By Creeping Ivy

In the world of academia, the ‘monograph’ reigns supreme. A book-length study of a single subject, a monograph should synthesize essay-length analyses into one argument that contributes something new to the scholar’s field. To analogize the world of music to academia: the monograph stands in for the album, demonstrating an artist’s ability to cohere individual songs into one holistic listen. Monograf, a Norwegian post-rock collective, published its first monograph in 2019. Nadir made a novel contribution to post-rock by adding Norwegian folk music to soundscapes reminiscent of Godspeed You! Black Emperor.1 As it reviews sophomore effort Occultation, the tenure board will determine whether Monograf is worthy of that increasingly elusive professional state—job security.

The academic analogy suits Mongraf, given the background of its primary composer. Erik Aanonsen is polymathic; he serves as vocalist and guitarist, writes the music and lyrics, and even provides nykkelharpa (a Swedish keyed fiddle). Aanonsen also leverages his degree in film scoring as producer and recording engineer for Occultation.2 With a keyboardist (Ingvill Trydal) and another fiddler in tow (Sunniva Molvær Ihlhaug), Monograf sculpt cinematic tracks that sound like a less droning Wyatt E. These songs weave serpentine riffs, atmospheric synths, and folky fiddling into a loud/quiet/loud tapestry. The fiddle melodies frequently take center stage, crescendoing into intense payoffs (“The Prophet,” “Cripplegate”). Despite being more compressed than a cinematic album should be, the production is delightfully organic, especially its crackling guitar tones. Essentially, Occultation scores its cover art: one can feel the heat rising in this druid-filled sonic desert.

Occultation explores a more metal subject than its post-rock predecessor, mostly with success. With album two, Monograf adds doom, progressive, and even extreme metal credentials to their CV.3 Aanonsen, second guitarist Martin Sivertsen, and bassist Hanna Sannes Aanonsen often begin songs with the droning simplicity of an Om-inspired riff that develops into complex noodling à la prog-era Opeth (“The Prophet,” “Occultation”). Drummer Erlend Markussen Kilane adds more complexity, roving between jazzy snare work, thundering tom hits, and scene-stealing fills (“Cripplegate,” “Carrion Seller”). Vocally, Aanonsen still delivers the ghostly cleans that dominate Nadir, but he adds a raspy shout to Occultation. For the most part, these harsh vocals create urgency that the music doesn’t quite call for. But occasionally, Monograf snags a catchy chorus out of Aanonsen’s shout (“Occultation”).

Monograf aptly structures Occultation as a whole, though the songwriting strategy grows repetitive. Occultation is a dyad; a mid-album breather (“Ashes”) divides halves comprised of two longer songs. “The Prophet” and “Cripplegate” kick things off with compelling call-and-response arrangements: the riffs call, the fiddle responds. “Ashes” is a welcome reprieve, smothering intimate acoustic chords and Aanonsen’s gorgeous cleans underneath drum flourishes that swell in volume. The track comes off, however, as a bit of an academic exercise. Once “Carrion Seller” kicks in, the listener realizes that the call-and-response song structure is something of a formula. Fortunately, closer “Occultation” varies the formula, feeling more like a slow burn than a riff/fiddle conversation.

Monograf should feel secure in their new, metal-adjacent specialization. Despite my criticism of Occultation’s repetitive songwriting, its 40-minute runtime invites repeat visitations of its alluring soundscape. Fans of drone and doom should especially take notice. While its folk-infused heaviness is not an intervention on par with the most recent Wyatt E. release, Occultation skillfully balances hypnotism and memorability in its riffwork. On monograph three, I suspect that Monograf will inch closer to the oasis in the desert that is the tenure track.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nordic Mission
Websites: monograf.bandcamp.com/ | facebook.com/monografband | instagram.com/monografband
Releases Worldwide: November 14th, 2025

#2025 #30 #antestor #doomMetal #drone #folk #godspeedYouBlackEmperor #monograf #nordicMission #norwegianMetal #nov25 #occultation #om #opeth #overheadProductions #postRock #progressiveMetal #review #reviews #wyattE

IHLO – Legacy Review

By Owlswald

The creation of an album is a long, arduous process—a truth UK prog trio IHLO knows well. After five years of painstaking work, the group has returned with their sophomore album, Legacy. Over the years, IHLO has shared glimpses of their meticulous creative process via Patreon, revealing the humorous temporary names they gave to demos—like “Szechuan Sauce” and “Banana Pants”—while showing just how demanding the journey has been. Unlike their debut, Union, where they admit they “stumbled into” its dark, brooding atmosphere, IHLO approached Legacy with clear intent, determined to bring the same melancholic, emotional core with them and challenging themselves to craft complex compositions that seamlessly blend their progressive metal, electronic, and pop influences. With Legacy finally here, it’s time to discover if IHLO’s hard work was worth the effort.

Whereas Union was a solid slab of Tesseract worship, Legacy finds IHLO forging a more distinct voice of their own. To be sure, the trio still operates on the djenty side of the prog spectrum, but Legacy is more ambitious, polished and patient, with through-composed songs1 that ebb and flow between intricate passages to monumental crescendos. The trio remains rich in talent. Singer Andy Robison gives Daniel Tompkins (Tesseract) a run for his money, with buttery smooth tones (“Source,” “Replica”), soaring choruses (“Cenotaph,” “Empire”) and sultry crooning (“Source,” “Mute”) that binds Legacy together, grounding IHLO’s progressive experimentation in accessibility. Robison, along with guitarist Phil Monro, provides bright, well-matched layers of harmony with their keys and synths over bouts of Monro’s djent-laden guitar stammers. Drummer Clark McMenemy’s polyrhythms and ghost-noted backbeats create hard-hitting tempos with Neil Peart-esque fills (“Cenotaph,” “Storm,” “Wraith”) and shimmering cymbal work. Clocking in at a hearty 68 minutes and bolstered by slick production that lets every facet of IHLO’s sound shine, Legacy is an investment, but a worthy one where the creative juice is worth the squeeze.

Legacy is structured into two main movements, with interlude “Storm” serving as a natural midpoint. The first half—from “Wraith” to “Empire”—showcases IHLO’s progressive strength through intricate musicianship and dynamic songwriting as the trio weaves diverse influences into a painter’s palette of emotional and musical payoffs. Their willingness to subvert typical song structures and build an engrossing mood from scratch is a hallmark of their songwriting that works to their advantage. “Source” demonstrates this genre-interlacing talent, beginning with a trip-hop Massive Attack feel before launching into tight, percussive grooves with Robison’s excellent vocal harmonies. After building anticipation with a drawn-out, electronic intro, “Wraith” drops into a stuttering, palm-muted verse before an airy chorus and a fantastic guitar solo envelop the listener in a blanket of warm tones. Despite its length, the track never loses purpose, with each evolution feeling deliberate. Radio hit “Empire”—with its striking guitar chords, glittering synths, and vibrant rock beat—and “Replica’s” powerful and infectious songwriting anchor the album’s first twenty-five minutes with Robison’s memorable sing-along hooks and melodies endlessly captivating.

The second movement—from “Mute” to “Signals”—reveals IHLO’s more sensitive, introspective side. The somber and melancholic “Mute,” with its arpeggiated guitars and silky, smooth singing, is a clear departure from Legacy’s earlier, more aggressive qualities. While it reveals a new facet of the group’s sound, it lacks the hooks of earlier tracks, causing a dip in momentum. Thankfully, “Cenotaph’s” strong, driving pulse largely gets things back on track with powerful rhythms and atmospheric guitar building to an epic, hard-hitting conclusion. “Haar”—serving as a would-be closer—jumps right into a triumphant homecoming that leverages a tight rhythmic groove and shimmering keyboards. But then, for some reason, the album keeps going. Closing tracks, “Legacy” and “Signals,” lack purpose and unnecessarily extend the runtime by twenty minutes. The Between the Buried and Me-influenced “Signals” starts strong but suffers from a repetitive, four-minute outro, while the latter lacks gripping hooks, making for an anticlimactic end.

While it may not stick the landing, Legacy is an ambitious and emotive album that largely justifies the group’s five-year creative journey. It evidences IHLO’s evolution, finding their voice in an ever-growing progressive metal landscape. For prog fans who appreciate intricate musicianship and poignant songwriting, Legacy is a rewarding listen and a testament to the fact that some creative journeys are worth the wait.

Rating: Good
DR: N/A | Format Reviewed: Stream
Label: KScope
Websites: ihlo.bandcamp.com | ihlo.co.uk | facebook.com/ihloband
Releases Worldwide: August 29th, 2025

#2025 #30 #Aug25 #BetweenTheBuriedAndMe #BritishMetal #Ihlo #KScope #Legacy #MassiveAttack #MelodicMetal #ProgressiveMetal #Review #Reviews #TesseracT

Need a fix but just cafeine ☕ #metalsky #metal #progressivemetal #altmetal #numetal #algirl #emogirl #gothgirl #coffee #coffeeaddict #musicsky #music

LEPROUS announce “An Evening Of Atonement” live release 🔥

📰 Check the #WhiteroomReviews news item: https://www.whiteroomreviews.nl/nieuws/leprous-kondigt-live-release-an-evening-of-atonement-aan
✍️ By me
🎥 By: #Leprous
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Epica – Aspiral Review

By Kenstrosity

Since their founding in 2002, Epica garnered my everlasting adoration as my absolute favorite symphonic metal band, followed by other household names like Nightwish and After Forever. However, unlike the overwhelming majority of their ilk, Epica’s music bares sharper teeth, maintains a stronger connection to the greater pantheon of metal and its more extreme fringes, and remains to this day the most consistent in quality album to album. Few symphonic bands celebrating over 20 years of uninterrupted activity exhibit these characteristics. Consequently, my anticipation for Aspiral soars in my trust that Epica could never let me down, grounded by a great anxiety that one day, they just might.

The sigh of relief I let out after my first spin of Aspiral could be heard around the world. Brimming with drama, loaded with hooks, and laser-focused on delivering passionate, energetic songs, Epica’s ninth opus sees every member of this remarkably stable1 Dutch sextet operating in rare form. Running for bang-on one hour, Aspiral follows the classic Epica blueprint: epic, opulent symphonic metal informed by prog and power, and grazed across the cheek by death’s bony phalanges. However, new accoutrements and novel structures showcase a group exploring the boundaries of their sound with a gentle growth indicative of a collective eager to play and learn. While this never leaves any of these 11 songs unrecognizable as an Epica piece by any means, these admittedly light risks allow Aspiral to shine as a late career highlight.

Aspiral, first and foremost, is a triumph of performance in music. As the world already knows, lead siren Simone Simons is a powerhouse, her voice only getting better with time (“Obsidian Heart,” “Apparition,” “The Grand Saga of Existence—A New Age Dawns Part IX”). However, a delightful surprise, Mark Jansen’s immediately recognizable growl and scream rips across the record with a palpable presence and rabid tone (“Metanoia—A New Age Dawns Part XIII,” “Eye of the Storm,” “The Grand Saga of Existence”). Ariën van Weesenbeek’s incredible drumming steals the show all over the place, too, whether in the service of creating additional interest inside breakdowns and riffs (“Arcana”); by driving transitions smoothly between faster freakouts and slower spells (“T.I.M.E.,” “Apparition”); or when manifesting a groovy beat that all but guarantees remembrance (“Obsidian Heart,” “Fight to Survive—The Overview Effect,” “Apparition”). Thankfully, Mark Jansen’s and Isaac Delahaye’s axework keeps up, injecting oodles of fun leads and riffs (“Cross the Divide,” “Darkness Dies in Light—A New Age Dawns Part VII”) and quite a number of killer solos (“Apparition,” “Eye of the Storm”). Even Rob van der Loo’s bass guitar gets to shine a bit more, too, though he’s still a bit difficult to spot sometimes—a clear point of improvement for future records. And of course, Coen Janssen’s orchestrations need no introduction, but his gorgeous choirs in particular make a huge impression this time around (“T.I.M.E.”).

Of course, all of those performances would mean nothing without great songs in which to showcase them. Thankfully, Aspiral is loaded with pieces that live rent-free in my head. Hits like “Cross the Divide,” “Arcana,” the VOLA-esque “Obsidian Heart,” “Apparition,” the energetic “Eye of the Storm,” and beautiful penultimate epic “The Grand Saga of Existence” compete viciously for top spot as the album progresses—to the point that I always feel I’m giving the wrong answer when I call any one of them my favorite. Moreover, despite Aspiral’s adventurous and exuberant spirit, the whole feels cohesive, well-conceived, and smartly arranged. Even instrumental moments that threaten to derail my attention, like the initially questionable breakdowns in “Arcana” and “Fight to Survive,” get scooped right up by Mark’s and Isaac’s clever leads, Ariën’s kit wizardry, and Coen’s uplifting orchestrations. This, in turn, creates a dynamic experience that evokes a range of actions and reactions, logical progressions of story, and thoughtful decorations which make repeat spins valuable to invested listeners.

There’s so much more I can say about Aspiral, but as I continue to overwrite, I want to leave with a couple of notes. Firstly, while it occupies an ideal placement in the tracklist, delicate closer “Aspiral” might be the one song that meanders too long, creating a spot of bloat at the tail end. Secondly, I was hoping to hear more of the extremity that Epica unexpectedly unleashed on “Human Devastation” from their The Alchemy Project EP. I recognize that it was a one-off collaboration, but I do hear little hints of its beastly spirit in places here, and I crave more of it now that I know that Epica are willing to engage with it. Finally, Aspiral, flaws and all, made it impossible for me to go back to previous records as a point of comparison, because its pull is just too strong. Every impulse to pick up something else instead resulted in withdrawals, followed by yet another ravenous draught of Aspiral.2 If that’s not the making of a Great record, I don’t know what is.

Rating: Great!
DR: N/A | Format Reviewed: Stream [Stop This!]
Label: Nuclear Blast
Websites: epica.nl | facebook.com/epica
Releases Worldwide: April 11th, 2025

Show 2 footnotes

1. They’ve kept the same lineup since 2012! ↩
2. And this promo was a shitty stream! ↩

#2025 #40 #AfterForever #Apr25 #Aspiral #DutchMetal #Epica #Nightwish #NuclearBlast #PowerMetal #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SymphonicMetal #VOLA

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New this week

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