#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

Mastodon - Marrow Deep. Die Entstehungsgeschichte des 12. Mastodon-Albums wirft einen derart langen Schatten, dass man sich ......
#JoshHomme #Mastodon#Alben #ProgressiveMetal #ProgressiveRock #SludgeMetal
https://www.musikblog.de/2026/08/mastodon-marrow-deep/

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

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

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

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

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

#Metal from diverse styles and eras.
bandcamp.com/obstinato/pl...
#metalsky #black-metal #metal-groove #doom-metal #progressive-metal #heavy-metal #press #underground #diymusic #diy #heavymetal @[email protected] @[email protected] #bandcamp #promotional #streaming #metalplaylist

I spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?

Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.

What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.

Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.

I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!

Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026

Samguineous Maximus

Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?

Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.

It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.

As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.

Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.

Rating: 4.5/5.0

Free download codes:

Ephraim - Seraphina

"A raw; progressively brutal telling of a tragic fairy tale story created by Ephraim"

https://getmusic.fm/l/Tq1Msa

#indie #metal #progressiverock #deathmetal #progressivemetal #metalcore #deathcore #brutaldeathmetal #hongkong #music

Since releasing Magnum Opus four years ago, Philadelphia’s IATT has refined their songwriting toolkit to incorporate an even wider array of ideas and sounds. New platter Etheric Realms of the Night demonstrates a compositional leap as IATT weaves a grandiose concept into music—specifically, exploring the deconstruction of consciousness as wakeful awareness decays amongst the capricious environs of the subliminal. This abstract notion is rife with potential, offering boundless possibilities for artistic exploration. Broadly speaking, IATT follows a fascinating trajectory, covering a lot of ground with each release and honing their craft remarkably since their debut. With their latest offering, can IATT send us into Etheric Realms of delight?

Etheric Realms of the Night surges with ideas and instrumentation, entwining ephemeral beauty and scathing dissonance into a fugue-like fever dream. Prior albums Nomenclature and Magnum Opus reference stalwarts Opeth, Enslaved, and Dissection, melding melody with brutality to wondrous effect. Etheric Realms of the Night retains the core of IATT’s sound while expanding it even further into flamboyantly progressive territory à la Ihsahn and Thy Catafalque, and it’s this pivot that unites Etheric Realms’ music and concept so cohesively. The flute, performed by Didier Malherbe, sets the tone at the beginning of lead track “Drift Away.” Light, airy, and flitting, its inclusion is a masterstroke in evoking dreams’ fleeting substance. Piano lines weave in and out of the compositions, enriching the gorgeously textured cascades of IATT’s dense soundscape with vague impressions of a lullaby. Yet no matter how busy any particular moment is, each facet plays in service to the whole, engendering an astonishing coherence through Etheric Realms despite the diversity of components.

The overarching narrative on Etheric Realms of the Night follows the mind’s state of consciousness as sleep erodes the physics of reality, sending us deep into the impenetrable murk of unfiltered inputs and perceptions. “Drift Away” begins with a tandem of acoustic strumming played under a lilting flute, leading to a VoiceOver thought exercise that establishes a loose framework for Etheric Realms.1 From there, the track launches into harsh vocals alongside soaring strings that give way to heartfelt cleans, a groovy drum shuffle, punchy bass countermelodies, and sprightly piano flourishes. It’s the perfect introduction for what IATT accomplishes throughout Etheric Realms, as atmospheres consistently dart and lurch in unexpected directions. This approach synchronizes perfectly with the ephemeral temperament of dreams, where paradigms are kaleidoscopic, and no foothold lasts longer than a breath. So, too, does IATT’s songwriting shift and evolve throughout Etheric Realms’ runtime, with themes and motifs fading and reemerging in altered forms.

Etheric Realms’ success hinges on performances that can support the concept IATT sets in motion, and here, too, they deliver in spades. The guitars feature prominently on Magnum Opus, frequently stepping out to deliver showy licks and sure-fingered solos. On Etheric Realms, guitarists Joe Cantamessa and Alec Pezzano are no less capable and still deliver electrifying leads and riffs. Yet it’s their restraint that works best, giving room for other parts to dazzle. Paul Cole’s drumming hypnotizes as he adopts different styles throughout, including a dance-ready samba pattern on “Pavor Nocturnus” and a Portnoyesque rumble toward the back end of “Somniphobia.” Meanwhile, bassist/vocalist Jay Briscoe unleashes the best performance of his career so far, issuing a variety of black metal rasps and lower register roars along with effective cleans. Briscoe’s stately bass lines deserve praise as well, sauntering into the spotlight or supporting with gravelly grooves as needed. Also, the saxophone on “Walk Amongst,” played by Jørgen Munkeby (Emperor, Shining), wails with such emotion and moxie that I get goosebumps every time I listen. Every moment on Etheric Realms feels well-considered and expertly crafted, and the way it all fits together is transcendent.

Etheric Realms of the Night is an unabashed triumph. In my time at AMG, this is the only review I’ve tarried on because I didn’t want to stop listening to the album. IATT supplies an arresting three-quarters of an hour that sets my dopamine release valve to ‘GUSH,’ and Etheric Realms claims a residency in my gray matter that haunts me day and night. Every time “Hypnos” concludes, I’m left mesmerized and enamored with IATT’s swirling moods and seamless conglomeration of ideas. While it’s too early for me to think about list season,2 the subconscious pull Etheric Realms possesses only grows stronger with each visit, and I dare to dream of writing about it again.

Rating: Excellent!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Black Lion Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

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.

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

Comprising members of Horrendous and Crypt Sermon, back in ye strange times of 2021, Philadelphia’s The Silver dropped an impactful debut platter upon the unsuspecting underground masses. Ward of Roses struck a powerful and unexpected blow, welding atmospheric goth, post, black, and progressive elements into a biting and melodramatic slab of extreme metal. Time flies, and nearly five years later, The Silver make an anticipated return through sophomore album, Looking Glass Hymnal Blue. Already boasting a unique, versatile and imposing formula, rather than dramatically reinventing their sound, Looking Glass Hymnal Blue finds The Silver tightening the nuts and bolts of their songwriting to forge a confident continuation and subtle evolution of Ward of Roses.

Balance is the key to unlocking The Silver’s songwriting power and stirring dynamics. A wicked melting pot of gothy atmosphere, darkly sparkling melodicism, and stormy theatricality, Looking Glass Hymnal Blue grounds these elements with anguished extremes, the harrowing howls of vocalist Nick Duchemin, and a hyperactive barrage of blast beats, frantic, blackened riffage, and steely aggression. This enticing, ying-yanging combination is expertly crafted, especially when combined with progressive arrangements that flex The Silver’s strengths and unorthodox charms with interesting, complex musicianship and memorable hooks. Shrouded in an atmosphere of icy melancholy, Looking Glass of Hymnal Blue’s wrenching emotional resonance lends further substance to the dense material. Notably, the improved clean vocal lines play a more integral role, featuring an emotive, addictive punch soaring through the album’s jagged, bleaker terrain.

The opening title track sets the tone, unleashing visceral bursts of turbulent axework and frantic rhythms, as dueling harsh and clean vocals consolidate The Silver’s mastery of contrast, including frosty beauty and beast dynamics. Some almost Opeth-esque bluesy guitar work and a beautifully delivered clean vocal passage cap off a stellar introduction. Longer form epics form the bulk of the album, as evidenced on the album’s lengthiest piece, the stunning, nearly nine-minute-long “Two Candles.” The Silver handle the weighty composition with crafty skill. Urgent, savage ebbs smoothly intermingle with soaring cleans, mellow passages, and colorful guitar work. It’s an ambitious, frequently gripping journey, encapsulating The Silver’s strengths and individuality in one momentous epic. Elsewhere, The Silver’s keen balancing act also shines on shorter, punchier songs, such as the aggressive, percussive-heavy surge and pristine melodics of “Memorias,” or violently thrashing assault and blackened intensity of “Tendrils.”

Ward of Roses possessed a distinct freshness and raw delivery complimenting its harsher realms and melodrama. Naturally, the elements of surprise are tempered second time around, Looking Glass Hymnal Blue only marginally sacrifices the rawer edge of the debut, compensating through a stronger, more confident melodic presence and tighter songcraft. The Silver’s proggy inclinations come to the fore, deviating from conventional writing and maintaining a rich infectiousness, where hooks bore into the soul and lodge in the memory bank. Musically, Looking Glass Hymnal Blue is another ambitious, genre-splicing beast, straddling post, black, prog, and doomy realms with aplomb, maintaining cohesion, beefing up the technicality and rippling guitar fireworks, and pushing forward Matt Knox’s confident, compelling clean vocal melodies. This may not work for all listeners, depending on tolerance for Knox’s vocal style, which generally dips less into the spoken word theatrics that were occasionally a stumbling block on Ward of Roses. Special mention also to the robust rhythm section; as plump basslines, pulsating rhythms, and intricate drum patterns demand attention.

Only the shorter, bluesy later album cut “…Twilight of Love” falls short of the hefty standards of its counterparts, though it is a solid song regardless, feeding into the colossal power, violent throes, and affecting melodies of closer “My Lone Dark Lantern.” Looking Glass Hymnal Blue adds intriguing twists and layers to an already cool formula, largely levelling up from the sophisticated, exciting promise of their debut. Crafting another accomplished, beautifully produced album, The Silver avoid the dreaded sophomore slump, taking minor creative risks while both expanding and consolidating their unique sound. Taking their time with this second opus, the payoff is grand, and The Silver’s welcome return suggests this project is here for the long haul.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Gilead Media
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

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

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

For @DXMacGuffin's #ProgTuesday:

#TheReticent: please

https://album.link/t/460242048

#ProgressiveDeathMetal #ProgressiveMetal

FFO #AnAbstractIllusion #TheContortionist #Nospūn (duh)

"An autobiographical album that delves into the heart of mental health battles from hiding one's illness all the way to the brink of oblivion" - with a little help from friends.

Citadel – Descension [Things You Might Have Missed 2025]

By Kenstrosity

2025 has been a banner year for the long form in my book. With such high-ranking triumphs from Tómarúm, An Abstract Illusion, and Flummox in rotation, you’d think there wouldn’t be any time left for another. Yet, New Jersey trio1 Citadel dropped the lush and dramatic Descension upon the Earth back in late March, and it’s never left my rotation since.

Descension is the kind of album that reminds me of many, but punches with a weighty impact matched by so few. Highly reminiscent of olde Opeth in terms of structure and scale, Citadel’s songwriting attacks like Carnosus and emotes like An Abstract Illusion. As a result, these seven tracks—the shortest of which clocks in at seven-and-a-half minutes—are packed with vicious riffs, brimming with weepy melodies, and bursting with explosive energy. Thankfully, primary songwriter Ameer Aljallad had the foresight to allow each of his sprawling excursions their soft side as well. Buttery transitions from crushing riff-fests to delicate dalliances afford Descension a tangible dimensional depth and an inviting character.

Easily one of the strongest songs released this year, “Sorrow of the Thousandth Death” explores and expounds upon Citadel’s many virtues. At a mind-boggling nine minutes and change, the ravenous progressive death charge this track propels summons a spine-rending surge of momentum with an uncanny ease. Instantly memorable just for this indelible moment, it continues to impress with a fantastic assortment of riff variations and evolutions that carry the weight of the track’s runtime as I would a feather on my shoulder—almost as if it wasn’t even there. Other highlights like “Crescent Dissentient” and “Downwards Ever” accomplish the same feat, but with their own voice. The former shadows the soundscape with a blackened char and a bellowing cello refrain, mixed with an Aquilus-esque piano étude in its midsection, that exhibits Citadel’s versatility as songwriters and performers. In the latter’s case, boisterous bass plucking, multilayered tremolo sweeps, and a brassy trumpet bring in a swaggering sass to the affair; not strong enough to upend what Descension constructed up to that point but certainly enough to give it a noticeable and delightful twist.

Even without these particularly vivid highlights singled out, Descension is still a significant triumph of mood and movement. Every passing minute immerses me further into the wondrous worlds Citadel conjure along this journey. Each song ties to the last and begets the next, but owes neither its loyalty or dependence. “Under the Primrose,” for example, sets itself apart with eerie cleans against bright, airy melodies, evoking visions not unlike those penned by Lewis Carrol in his writing. Even so, its placement at the center of the runtime serves a critical role not just to its own success as the lightest offering, but also to the success of its neighbors and of the whole. Thunderous closer “As One” does the same for the second half, resolving the proggy lilt of “A Shadow in the Mist” and the tumultuous drama of “Downwards Ever” in a crushing campaign of highly melodic riffs, howling rasps, and pummeling rhythms that only make sense as the final destination for everything that came before.

Rare is the record of this style and structure that captures my undivided attention back to front, but Citadel is an unqualified success on that front. Dramatic, emotive, and energetic, Descension is easily their best work, and will be incredibly difficult to follow up. But it’s far too early to worry about that. For now, sit back and enjoy ov deep Descension!

Tracks to Check Out: “Sorrow of the Thousandth Death,” “Crescent Dissentient,”” “Downwards Ever,” “As One”

#2025 #blackenedDeathMetal #citadel #deathMetal #descension #melodicDeathMetal #progressiveDeathMetal #progressiveMetal #review #reviews #selfRelease #selfReleased #thingsYouMightHaveMissed #thingsYouMightHaveMissed2025

Veilburner – Longing for Triumph, Reeking of Tragedy Review

By Kenstrosity

Boasting one of the most consistent discographies in the world of weird modern metal, Pennsylvania’s Veilburner toy with the boundaries between the strange, the twisted, and the accessible. From my introduction to their work, A Sire to the Ghouls of Lunacy, to their high-water mark Lurkers in the Capsule of Skull, and through The Duality of Decapitation and Wisdom, Veilburner defied Angry Metal Guy’s Law of Diminishing Recordings™. Considering that they draw from the same bag of blackened death tricks—albeit seen through the reflection of a fun house mirror—that’s no small feat. The question remains, can upcoming tome Longing for Triumph, Reeking of Tragedy pull it off once more?

Veilburner have gotten away with this for as long as they have, over the course of now eight LPs, because they continually find deceptively creative ways to use the tools at their disposal. Highly affected growls and eerie wails interlock in a delightfully mangled fashion with twanging lead guitars and bass plucks, while lightly syncopated drum beats and blasty fills create a solid rhythmic backbone for unexpectedly sticky blackened death riffs full of fun details and novel embellishments. This is the core of Veilburner’s sound, but the formula is wildly adaptable and modular. This, in turn, allows for countless iterations that all feel familiar without feeling rehashed. Longing for Triumph, Reeking of Tragedy notches nicely into Veilburner’s discography as another such iteration, this time stripping and slowing down compared to the vicious Lurkers or the whimsical Duality.

Floating in spooky soundscapes—almost psychedelic in its relaxed, wobbly compositions—Longing boasts a simplified riffset and a renewed focus on effective hooks that rely less on base repetition and more on subtle variation. One of the best examples to that point is third cut “Rigor & Wraith,” which is far less violent than the title implies, but still wildly successful. It leaves me in a trance just in time for its companion piece, “That Which Crypts Howls Grandeur,” to rip me apart with thunderous, oscillating riffs and shadowy rasps. It’s a murky tune, darker and more evil-sounding than the majority of Veilburner’s compositions thus far, once again showcasing the versatility of their style. Later highlights like “Ouroboreal Whorl” reinforce the strength of Veilburner’s leads and solos to elevate entire compositions with memorable decorations, vibrant shreds, and brain-scratching burls. In between these cuts, more “predictable” fare that follows precedents established by previous works, particularly Lurkers, prove that Veilburner can carry over familiar material and still impress on the strength of their bouncy, but immersive songwriting (“Da’ath Ye Shadow Portrait,” “Matter o’ the Most Awful of Martyrs”).

Yet, I can feel the effects of the aforementioned Law™ creeping in. As Longing launches, “Longing for Triumph…” and “Pestilent Niche” could be interchanged with material from VLBRNR or Sire and find a pretty welcoming home right away. This issue introduced itself for the first time on Duality, suggesting that Veilburner draws near now to the upper limit of versatility with this sound as it currently exists. Similarly, closer “…Reeking of Tragedy” could reasonably close out any of Veilburner’s records without feeling out of place (though it does have one of the coolest riffs on this record, and directly connects to the opener with a reprisal of sharp, ghostly chants, which helps its case). At 52 minutes, consistent with the duo’s discography thus far, Longing is also the first that feels bloated. This is likely due to the prevalence of slower tempos and more relaxed pacing than previous records endeavored, which brings too much attention to Longing’s average song time of over six minutes than benefits my listening experience. As a final note, Longing’s production shifts the sound towards the flat and the muted, which robs depth and weakens impact where it matters most.

Despite my laundry list of critiques, Longing for Triumph, Reeking of Tragedy remains a thoroughly enjoyable, riff-laden, and fiercely unique record in the deep pool of blackened death options. Not as progressive as previous installments, but still effective and interesting, Longing perpetuates Veilburner’s reputation for writing weird and wonky material with meticulous attention to detail and a high standard of quality. That it isn’t the strongest example of their style is but a byproduct of the number of iterations it’s gone through. Perhaps this is a sign for Veilburner to push the envelope, to find and exploit the next stage of evolution for their sound. Even so, Longing’s worthy of a spin or three!

Rating: Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: veilburner.bandcamp.com | facebook.com/veilburner
Releases Worldwide: November 14th, 2025

#2025 #30 #AmericanMetal #BlackMetal #BlackenedDeathMetal #DeathMetal #LongingForTriumph #Nov25 #ProgressiveMetal #ReekingOfTragedy #Review #Reviews #TranscendingObscurityRecords #Veilburner

Psychonaut – World Maker Review

By Kenstrosity

Over the course of the last five years and change, my estimation of Belgian three-piece Psychonaut has only increased. Where I unfortunately missed out on Violate Consensus Reality for review duties, I didn’t let it slip outside of my listening rotation—certainly not after such an impressive debut, Unfold the God Man. I underrated that outing, citing bloat as the main drawback. Little did I consider that Psychonaut’s music often needs much more time than we’re given as our standard reviewing window to fully bloom. The psychedelic proggy post-metal purveyors boast a thoughtful and deeply layered songwriting approach that can’t be captured by a casual spin or three. Hence why I asked for World Maker, the trio’s third opus, early.

This proved to be a wise choice, as World Maker once again showcases the kind of writing that expands with a seemingly infinite upper limit over the course of time and attention. Less immediate than Violate Consensus Reality and less intimidating than Unfold the God Man, World Maker plucks the ripest fruit from each endeavor to formulate a rich and tantalizing concoction worthy of peddling alongside household names like The Ocean, Pink Floyd, and even Tool. World Maker is in some ways more intense (“Endless Currents”), and in others more relaxed (“…Everything Else is Just the Weather”), and all-around more psychedelic than what I’ve heard from Psychonaut before. Yet, it wholly retains Psychonaut’s uncanny knack for organic, almost primal rhythms, fluid transitions, and captivating phrases that achieves comparable success with or without vocals (“Origins”).

What sets World Maker apart from either of its predecessors is refinement in songwriting. Their base formula remains intact, but the methods with which Psychonaut compose and perform these latest arrangements ooze sophistication and finesse. Epic tracks like “And You Came with Searing Light” and “Stargazer,” in particular, showcase some of Psychonaut’s strongest and most satisfying writing to date. Exploring a wide gamut of textures, tones and tempos, these long-form journeys balance the power of the riff utilized on “You Are the Sky…” and “Endless Erosion” with the introspective post-metal lightness illuminated on “…Everything Else is Just the Weather” and “All in Time.” Generous and varied application of this strategy album-wide affords Psychonaut’s impeccably detailed compositions ample room for natural transformations between the monstrous and the gentle. This, in turn, allows World Maker to feel alive, to grow and evolve with every passing minute, and each subsequent spin.

As such, World Maker takes time and commitment to fully appreciate. It moves with such grace that its hour-long 1 runtime shrinks dramatically before me; that much became evident almost immediately. At the same time, it’s a dense and complex work that unfolds across multiple dimensions more rapidly than any one explorer can keep step. Perhaps this is a reflection of the circumstances surrounding its creation. With guitarist/vocalist Stefan de Graef’s entry into new fatherhood to devastating news of his father’s and bassist/vocalist Thomas Michiels’ father’s advanced cancer diagnoses, a newfound focus on the here and now illuminates the emotional shades that help define and color World Maker’s deeply affecting compositions. Trading off bright glimmers of hope with the looming shadow of grief, and simultaneously carrying the weight of everything that falls between, informs every moment of World Maker. This makes it a much more personal record than its predecessors. Moreover, Psychonaut curated an inviting, vulnerable space so that I might join in their joys and their sorrows through this work, creating a special kind of intimacy that is a privilege to share.

Even for those who lack the context in their own lives yet to fully identify with the stories and messages explored here, World Maker will likely have a substantial impact. It is a record that demands not just your full attention, but also your recurring presence. A single spin, or even three, is wholly insufficient to chart in totality what Psychonaut attempts to communicate here. These are songs meant to somehow, in some way, encapsulate the breadth of life and all of the lessons it teaches, the pains it inflicts, and the exhilaration it inspires. In my opinion, Psychonaut achieved a difficult, delicate balance within that astounding spectrum. All you need to see it for yourself is an open heart and a little time.

Rating: Great!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: psychonautband.bandcamp.com | facebook.com/psychonautband
Releases Worldwide: October 24th, 2025

#2025 #40 #BelgianMetal #Oct25 #PelagicRecords #PinkFloyd #PostMetal #ProgressiveMetal #PsychedelicMetal #Psychonaut #Review #Reviews #TheOcean #Tool #WorldMaker

TALES OF A LIQUID DAWN (Regne Unit) presenta nou àlbum: "Space Cults" #TalesOfALiquidDawn #ProgressiveMetal #Octubre2025 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Insomniac – Om Moksha Ritam Review

By Samguineous Maximus

The terms “psychedelic” and “post-metal” are usually enough for me to approach any new release with caution—not because those genres lack excellent music, but because they’re so often associated with overlong, unfocused songs. For every Cult of Luna or Oranssi Pazuzu, there are fifty bands peddling overlong, riffless dirges that mistake “atmosphere” for actual songwriting. Atlanta supergroup Insomniac has arrived with their debut record Om Moksha Ritam, with the ominous self-designation of “post-doom.” The title, loosely translated from Sanskrit as “Liberation through merging with the Universal Rhythm,”1 foregrounds its ambitions as a concept album designed to “guide listeners through an aural and spiritual journey across multiple extreme environments.” Have Insomniac crafted a narrative listening experience that successfully conveys its metaphysical aspirations? Or is their debut the “post-doom” equivalent of a bad trip?

On Om Moksha Ritam, Insomniac manages to craft a sound that is immediately recognizable yet distinctly their own. They merge the progressive psychedelia of Elder with the layered, textural approach of REZN, all filtered through the Southern-gothic tinge of fellow Georgians Baroness. The result is a body of songs that draw equally from the contemplative exploration of ’70s prog, Americana-dipped blues rock, and the anthemic heft of post-metal’s sludgier, power-chord-driven moments. What makes this combination work is not just the intuitive chemistry of the instrumentalists, but the commanding presence of vocalist Van Bassman. Each track is surprisingly vocal-driven, and Bassman conjures a sound somewhere between a bluesier Dax Riggs and a John Baizley who’s actually capable of singing. His baritone sits front and center for much of Om Moksha Ritam, often accompanied by vocal layers and effects, creating a kaleidoscopic swirl that amplifies the ebb and flow of the music as it moves between peaks and valleys.

It helps that Om Moksha Ritam’s tracklist is dynamic and well-paced, with each of its 7 songs offering subtle differentiation on Insomniac’s core formula. Much of this can be attributed to the interplay between guitarists Alex Avedissian and Mike Morris,2 whose willingness to balance acoustic and effects-laden electric timbres gives the record a versatile and interesting palette. The guitars ferry the songs between quiet reflection and crushing grandeur. Whether it’s weaving intricate folky arpeggios together with tripped-out leads (“Desert”), harmonizing across doomy atmospheres (“Mountain”) or using post-rock tremolos to punctuate a well-earned climax (“Meditation), the guitar work on Om Moksha Ritam is consistently engaging and varied. Of course, this would be for naught without a strong rhythm section, but Insomniac has that as well. Drummer Amos Rifkin brings a loose, delicate touch to softer tracks like “Sea” and “Forest,” but escalates with thunderous weight when the music demands greater intensity. Meanwhile, bassist Juan Garcia provides a warm, full-bodied tone that both supports and embellishes the melodic core, keeping the songs anchored amid the dense layering of guitars and vocals, which is important on a track like the expansive and sprawling “Snow and Ice.”

Only a few minor inconsistencies keep Om Moksha Ritam from reaching the apex of Insomniac’s sound. The B-side leans away from emphatic “Hell yes” moments in favor of slower, navel-gazing jams. These tracks reward repeat listens but aren’t as immediately gripping. Closer “Awakening” falls just shy of the monumental highs of the opening salvo, with a climactic chorus that doesn’t land as powerfully as it could. For the most part, the record sounds fantastic and balances its many intricate layers, though there are moments (the refrains of “Mountain” and “Sea”) where Bassman’s voice overpowers the rest of the band in a psychedelic spiral. These issues don’t detract too heavily from the record’s overall impact, but they are worth noting.

Om Moksha Ritam takes you on a hallucinogenic trek across the desert, riffs shimmering like heat mirages, the atmosphere thick enough to choke a camel. Insomniac has delivered an album that takes listeners on a true musical journey, drenched in smoke-filled vibes, yet immediately rewarding. Their unique, psychedelic strain of “post-doom” metal blends familiar elements from beloved bands into something greater than the sum of its parts. If Insomniac invite me on another spiritual vision quest through the wastelands of sound, I’ll happily lace up my sandals, pack my water skin, and follow them straight into the void.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Blues Funeral Recording
Websites: insomniacvibes.bandcamp.com | facebook.com/insomniacatl
Releases Worldwide: September 1st, 2025

#2025 #35 #AmeircanMetal #Baroness #BluesFuneralRecording #BluesRock #CultOfLuna #DoomMetal #Elder #Insomniac #OmMokshaRitam #OranssiPazuzu #PostRock #PostMetal #ProgressiveMetal #PsychedelicMetal #PsychedelicRock #Review #Reviews #REZN #Sep25

VINTERSORG - 'Vattenkrafternas Spel' by @vintersorgofficial & @hammerheartrecords666 _ #Review _ @twilight_magazin

https://www.twilight-magazin.de/reviews/musik-review/vintersorg-vattenkrafternas-spell

#linsedunemanninen
#twilightmagazin
#vintersorg
#hammerheartrecords
#blackmetal
#folkmetal
#progressivemetal
#metal
#heavymetal
#metalpunksteel
#speedmetakpunks
#intensemusic
#harz
#einharz #harzmountains
https://www.instagram.com/p/DPHA-GnjIZx/?igsh=b2M5OXpjdWtlZjBi

Welcome Back!!!

GREEN CARNATION - 'A Dark Poem Pt. l - The Shores Of Nothingness' by @green2carnation & @seasonofmistofficial

#linsedunemanninen
#intensemusic
#greencarnation
#seasonofmist
#metal
#heavymetal
#darkmetal
#gothicmetal
#deathmetal
#doommetal
#blackmetal
#progressivemetal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#försterplayer
#försterspieler
#greenbeast
#project
#projectdebutcarbonevo
https://www.instagram.com/p/DO089g1jMq7/?igsh=aGZ5NTlubDdhZ2J3

Weekend tunes...

HELHEIM - 'Hrabnar / Ad Vesa' by @helheimofficial & @darkessencerecords

#linsedunemanninen
#intensemusic
#helheim
#darkessencerecords
#blackmetal
#progressivemetal
#heavymetal
#metal
#metalpunksteel
#speedmetalpunks
#vinyllover
#vinyllovers
#vinyl
#project
#projectdebutcarbonevo
#greenbeast
#försterplayer
#försterspieler
https://www.instagram.com/p/DOOV8CSjD07/?igsh=MWp2cHBlZ21wZG1sMg==

Phantom Spell – Heather & Hearth Review

By Angry Metal Guy

During the 16 years that AMG has been a thing, I have criticized the trend of reaching back for the sounds of yore and creating high-fidelity copies. Dubbed “Nostalgiacore,” I regularly razzed Steel Druhm about his obsession with his lost glory days and heartily rolled my eyes at Rethrash. I thumbed my nose at the 3,500 bands a week we were getting in 2015, wearing bell-bottoms and writing Black Sabbath riffs 45 years after Black Sabbath was released; each rehashing blues rock as though originality was a four-letter word and fuzz pedals were personality. But recently, perhaps sick of the downward spiral towards the ever more “atmospheric” and “brutal,” I have found the simple pleasures of “good, honest heavy metal” calling to me. First, it was Wytch Hazel, then it was Grendel’s Syster. Now, it’s Phantom Spell’s Heather & Hearth.

Phantom Spell is the brainchild of Seven Sisters singer and guitarist Kyle McNeill.1 A multi-instrumentalist, studio magician, and eminent purveyor of nostalgiacore,2 Phantom Spell calls back to the days of Steel Druhm‘s youth, when men were men and rockstars could play instruments. When songs were melodic and catchy, but the guys writing them had all studied piano since the age when their moms could smack them upside the head with impunity, so they were good at music, if, admittedly, slightly traumatized. And Phantom Spell hews close to this tradition, featuring what sounds like a fully functional ’70s prog unit. Strong drums and earthy bass rumble beneath lightly distorted guitars—liable to drop into harmonies at any second, exposing the rhythm section. It calls to mind Manilla Road and Kansas, Wishbone Ash, or even early Iron Maiden. But when the Hammond kicks in on opener “The Autumn Citadel,” I get flashbacks to The Summer of Camel.

Like its musical forebears, Phantom Spell pops because of its composition and vocals. McNeill has an ear for classic prog structures—shifting time signatures, dueling guitar leads, and that organ that instantly dates the sound—but what elevates Heather & Hearth is how he binds these elements to purposeful songwriting. The record never feels like a pastiche; instead, it plays like a Tolkienesque love letter written in the margins of well-worn records, borrowing vocabulary but constructing its own syntax. Tracks like “A Distant Shore” and “Siren Song” fuse supple melodic phrasing with rhythmic variation, while “Evil Hand” twists in a familiar rock chassis that both evokes Tom Petty’s classic “Refugee” and Opeth. McNeill’s range—from his surprisingly strong low register (reminiscent of Eric Clayton from Saviour Machine [“The Autumn Citadel”]) to his cherubic high end—carries emotional weight without ever rubbing shoulders with cheesy. He layers harmonies like someone who grew up singing along to Leftoverture or The Snow Goose, and he knows when to pull everything back to let a bass groove breathe. Heather & Hearth is littered with excellent choices that suggest a composer with taste. McNeill understands balance and crafted an album that features it.

But no record truly pops without top-notch production. One of the genuine strengths of Heather & Hearth is a strong sense of balance. I’m reminded of Exile by Black Sites, where traditional hard rock composition and perfectly balanced production combined to create a live feel. So too, McNeill picks his spots, never overloading the mix or betraying the illusion of a live band.3 His production lends to the realism of the production by leaving the bass and drums as exposed elements when keys and guitars drop into harmonies (“Evil Hand,” for example). The feel is classic and beautiful, showing off the perfect balance that he’s struck with the tone. Some of this feels like an illusion, however. When listening closely to the harmonies, for example, in the gorgeous bonus track “Old Pendle,” they sound inhumanly tight, which suggests careful and aggressive processing.4

Taken as a whole, I particularly appreciate Heather & Hearth’s structure. Clocking in at about 37 minutes, the record is bookended by two 11-minute songs and filled in with shorter tracks. The composition ebbs and flows between the energetic and the melancholic and fragile. These mountains and valleys are both a strength and a weakness. For me, McNeill reaches his peak when he’s moving and shaking. There is an undeniable energy when the bass and drums are pulsing and he’s throwing off shackles, harmonizing guitars, and driving the music forward. The other side to Phantom Spell is achingly beautiful, and things I love on their own. But the strength of the album is its strong proto-metal heart, and I wish I could hear it beating a little louder throughout.

This is a great record, and the only thing left for Heather & Hearth to prove is that it has staying power. From the opening “bew bew bews” of the organs, to the *insert nature sounds here* that close the album out, Heather & Hearth is a triumphant exploration of songwriting. From the melodies to the solos to the amazing harmonies, Phantom Spell sounds like a band with huge aspirations. For that reason, it is actually a little disappointing that it’s a solo project. In my listening notes, I wrote: “My god, imagine finding five dudes who could sing these harmonies live in 2025.” Phantom Spell makes me genuinely long for a time when it would have been impossible for Phantom Spell to exist. And while that’s an amazing success, it’s a bittersweet one.

Rating: Great!
DR: 8 | Format Reviewed: 320kb/s CBR MP3s
Label: Cruz del Sur Music
Websites: phantomspell.bandcamp.com | http://linktr.ee/phantomspell
Release Date: July 18th, 2025

#2025 #40 #BlackSites #Camel #CruzDelSurMusic #HeatherHearth #IronMaiden #Jul25 #Kansas #ManillaRoad #NWOTHM #Opeth #PaleCommunion #PhantomSpell #ProgressiveMetal #ProgressiveRock #Review #Reviews #SaviourMachine #SevenSisters #TomPetty #TradMetal #WishboneAsh

#CurrentlyListeningTo Pain of Salvation - One Hour By The Concrete Lake #HeavyMetal #ProgressiveMetal 🇸🇪

#CurrentlyListeningTo Coheed & Cambria - Good Apollo I'm Burning Star IV: Volume One: From Fear Through the Eyes of Madness #HeavyMetal #ProgressiveMetal 🇺🇸

We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.

And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!

Kenstrosity’s Fresh(ish) Finds

Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]

The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.

Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]

Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!

Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]

Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.

Thus Spoke’s Likeable Leftovers

Besna // Krásno [January 16th, 2025 – Self Release]

It was the esteemed Doom et Al who first made me aware of Slovakia’s post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage’s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.

Tyme’s Ticking Bomb

Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]

Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.

Iceberg’s Bleak Bygones

Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]

My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.

GardensTale’s Tab of Acid

I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]

When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!

Dear Hollow’s Gunk Behooval

Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]

Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.

Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]

Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.

Steel Druhm’s Detestible Digestibles

Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]

Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.

#TheOcean: Heliocentric

https://album.link/m48jtzzcvpfc9

#PostíMetal #PostRock #ProgressiveMetal

FFO #BetweenTheBuriedAndMe #Intronaut #Psychonaut

#VinylArt #VinylLuv #VinylPorn

7/10

#PonteDelDiavolo is a very very unique thing!
What you’ll get:
#FemaleVocals
#DoomMetal
#ItalianLyrics
#EnglishLyricsWithItalianAccent
#ProgressiveMetal
#Bassoon

Dou you need anything else? Oh yeah, a link:

Fire Blades From The Tomb by Ponte del Diavolo (https://album.link/de/i/1717660429)

#AOTY2024 #TentinsReleaseMonth