#psychedelic-metal — Public Fediverse posts

Free download codes:

Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

Free download codes:

Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

Free download codes:

Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

Free download codes:

Heathen Tongues - Neurogenesis

"Two piece post-crust band from the metal capital of the world; Denver, Colorado"

https://getmusic.fm/l/jAnoXG

#grunge #doom #postmetal #stonermetal #psychedelicmetal #music

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

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.

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.

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.

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.

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.

Free download codes:

saelo - incarcerated thought

"A distorted boisterous journey through a season in hell via black metal and shoegaze"

https://getmusic.fm/l/hRCQzG

#shoegaze #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

saelo - incarcerated thought

"A distorted boisterous journey through a season in hell via black metal and shoegaze"

https://getmusic.fm/l/hRCQzG

#shoegaze #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

saelo - incarcerated thought

"A distorted boisterous journey through a season in hell via black metal and shoegaze"

https://getmusic.fm/l/hRCQzG

#shoegaze #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

saelo - incarcerated thought

"A distorted boisterous journey through a season in hell via black metal and shoegaze"

https://getmusic.fm/l/hRCQzG

#shoegaze #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

Teach Them To Weep - Past the Veil of the Observable Universe

"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."

https://getmusic.fm/l/EpLFwn

#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

Teach Them To Weep - Past the Veil of the Observable Universe

"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."

https://getmusic.fm/l/EpLFwn

#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

Teach Them To Weep - Past the Veil of the Observable Universe

"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."

https://getmusic.fm/l/EpLFwn

#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

Teach Them To Weep - Past the Veil of the Observable Universe

"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."

https://getmusic.fm/l/EpLFwn

#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music

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

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

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

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

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

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

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

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

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

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

Hellzel + Stoned Medusa @ Alter Schwede

Alter Schwede, Friday, July 4 at 07:00 PM GMT+2

Join this gloomy evening of Doom & Sludge and witness how the Elk antlers and the wooden ceiling will shake under the relentless guitar sound and diabolic drum beats!

⛦ Hellzel

Doom Sludge from Berlin

https://hellzel.bandcamp.com/

⛦ Stoned Medusa

Psych Doom from Berlin

(first show in Berlin!)

Friday, 04.07.2025

@ Alter Schwede, Schwedenstr. 11A, 13357 Berlin

Doors: 19:00 h

Start: 20:00 h

Admission: donation-based

https://berlin.askapunk.de/event/hellzel-stoned-medusa-alter-schwede

🌑 Make it psychedelic 🛸

#countdown
#spainispsychedelic
#spainismusic

#greengoat #AlternativeMetal #AlternativeMusic #UndergroundMusic #doommetal #stonerdoom #psychedelic #psychrock #psychedelicrock #psychedelicmetal #b3d #AtmosphericMusic

🌑 Make it psychedelic 🛸

#countdown
#spainispsychedelic
#spainismusic

#greengoat #AlternativeMetal #AlternativeMusic #UndergroundMusic #doommetal #stonerdoom #psychedelic #psychrock #psychedelicrock #psychedelicmetal #b3d #AtmosphericMusic

SALAMAN ISKU – Le Voyage Nocturne
#BitumeProds #Experimental #Grunge #Metal #MetalPsychédélique #Punk #Rock #folkmetal #psychedelicmetal #France
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike)
https://bitumeprods.bandcamp.com/album/le-voyage-nocturne

SALAMAN ISKU – Le Voyage Nocturne
#BitumeProds #Experimental #Grunge #Metal #MetalPsychédélique #Punk #Rock #folkmetal #psychedelicmetal #France
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike)
https://bitumeprods.bandcamp.com/album/le-voyage-nocturne

SALAMAN ISKU – Le Voyage Nocturne
#BitumeProds #Experimental #Grunge #Metal #MetalPsychédélique #Punk #Rock #folkmetal #psychedelicmetal #France
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike)
https://bitumeprods.bandcamp.com/album/le-voyage-nocturne

SALAMAN ISKU – Le Voyage Nocturne
#BitumeProds #Experimental #Grunge #Metal #MetalPsychédélique #Punk #Rock #folkmetal #psychedelicmetal #France
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike)
https://bitumeprods.bandcamp.com/album/le-voyage-nocturne

SALAMAN ISKU – Le Voyage Nocturne
#BitumeProds #Experimental #Grunge #Metal #MetalPsychédélique #Punk #Rock #folkmetal #psychedelicmetal #France
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike)
https://bitumeprods.bandcamp.com/album/le-voyage-nocturne

Veilburner – The Duality of Decapitation and Wisdom Review

By Kenstrosity

Asheville, North Carolina’s motto, for the whole time I’d lived there, is “Stay Weird.” For the most part, we Ashevillians take that to heart. So, too, it seems, do Pennsylvania’s weird blackened death duo Veilburner. A studio project well regarded for their unorthodox songwriting style, Veilburner’s discography represents a masterclass on making weird and freaky music remarkably accessible without sacrificing grit or grime. The pinnacle of that exercise, Lurkers in the Capsule of Skull, saw Veilburner at their zenith, handily securing a top spot on my Albums o’ the Year in 2021. Follow-up VLBRNR fell shy of performing the same feat, and yet it still earned high marks. Consequently, I’ve come to rely on this duo for a good time, every time. Seventh in an unbroken streak of high-caliber strangeness, The Duality of Decapitation and Wisdom perpetuates Veilburner’s stalwart reliability.

No longer bound by the same thematic thread that strung A Sire to the Ghouls of Lunacy and Lurkers in the Capsule of Skull together, VLBRNR and Duality freely explore new concepts and concoctions. For Duality, Veilburner chose to expound on the mystical qualities and cultural significance of the number seven. Gimmicky? Arguably, but seven happens to be my favorite number, so I’m locked in like Monica Geller in “The One with Phoebe’s Uterus.” Seven songs. Seven minutes per song. DR score of seven. Numerous other compositional/lyrical nods to our whole number of the day. Veilburner committed, and it shows not just in their concrete cohesion of tones, textures, and themes. Duality contains an otherworldly, eerie, and distinctly ethereal character (even when compared to previous efforts); a laminar flow that allows forty-nine minutes of oddball blackened death to travel through a mere mortal’s nervous system like tea through a perfectly rendered clay kettle; and an infallible set of creative performances from Mephisto Deleterio (instruments) and Chrisom Infernium (vocals) that constitutes something just a bit different, but still unmistakably Veilburner.

Duality adeptly rebalances Veilburner’s two main draws, then accentuates them with subtle, but creative, adaptations to the format they’ve perfected over the course of their career. Opener “Tem Ohp Ab in Mysticum” isn’t particularly representative of those adaptations—however, listeners need not wait long before things get twisty. Standouts like “III Visions of Hex-Shaped Hiss, Behead the Howling Spirit” and “The Duality of Decapitation and Wisdom Pt. II” showcase a newfound emphasis on the psychedelic. Using this as the basis to form kaleidoscopic, yet hellish, atmospheres, Veilburner conjure up wild and writhing synths, bendy guitar leads, and staggering percussive rhythms. In concert, these tweaked elements coalesce into twisted visages of an alien nature that are at once terrifyingly tangible and invitingly incorporeal. No doubt, Chrisom Infernium’s scathing, psychotic rasps placed atop a rhythm that only occasionally aligns with the surrounding instrumentation strengthens the sensory power of this effect. Meanwhile, Veilburner penned some of their strongest hooks and most aggressive tempos to ground the aforementioned psychedelics. “The Duality of Decapitation and Wisdom Pt. I,” and album highlights “Shadow of a Shadow” and “Woe Ye’ Who Build These Crosses… Are Those Who Will Serve Us Death,” each embody the Hyde to Duality’s Jekyll, boasting extremely memorable riffs and motifs, grotesquely shimmering solo work, and, in the latter’s case, a downright thrashy energy that recalls old school Metallica if they hailed from the seventh circle of hell.

It’s unfortunate that Duality’s bookends are its weakest links. While the opener and closer fit extremely well within the context of the album and serve with a purpose innumerable bands struggle to capture, they lack zest on their own. “Tem Ohp…” is by-the-numbers Veilburner fare, which is a fine standard to hold as a starting point. However, Veilburner are not known for laurel-resting, and to hear, for the first time, material that could be transplanted on any of their last three records without much conflict gives me slight pause. Closer “V.I.I.,” on the other hand, veers a touch too far into experimental territory. Psychedelic and quasi-tribal in tone, but droning in nature, this closing act lives and dies by the percussive variety provided by the immensely talented Mephisto Deleterio. This alone prevents the song from falling into a repetitive pattern of admittedly sticky hooks and intriguing choral elements. Even so, “V.I.I.” prematurely saps momentum from Duality’s final moments.

These are mere quibbles, of course. Duality remains a unique, and exceedingly cool, record in the rich metallic tapestry that represents 2024. It would have to grow strongly from here—in an unrealistically short period of time—to reach the same list-topping glory as did Lurkers. Nonetheless, listeners can rest assured that Duality reinforces Veilburner’s reputation for reliability and creativity in an extremely challenging field. To those who would disagree, I say, “off with their heads!”

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: veilburner.bandcamp.com | facebook.com/veilburner
Releases Worldwide: November 15th, 2024

#2024 #35 #AmericanMetal #BlackMetal #DeathMetal #Metallica #Nov24 #ProgressiveBlackMetal #ProgressiveDeathMetal #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheDualityOfDecapitationAndWisdom #TranscendingObscurityRecords #Veilburner

Veilburner – The Duality of Decapitation and Wisdom Review

By Kenstrosity

Asheville, North Carolina’s motto, for the whole time I’d lived there, is “Stay Weird.” For the most part, we Ashevillians take that to heart. So, too, it seems, do Pennsylvania’s weird blackened death duo Veilburner. A studio project well regarded for their unorthodox songwriting style, Veilburner’s discography represents a masterclass on making weird and freaky music remarkably accessible without sacrificing grit or grime. The pinnacle of that exercise, Lurkers in the Capsule of Skull, saw Veilburner at their zenith, handily securing a top spot on my Albums o’ the Year in 2021. Follow-up VLBRNR fell shy of performing the same feat, and yet it still earned high marks. Consequently, I’ve come to rely on this duo for a good time, every time. Seventh in an unbroken streak of high-caliber strangeness, The Duality of Decapitation and Wisdom perpetuates Veilburner’s stalwart reliability.

No longer bound by the same thematic thread that strung A Sire to the Ghouls of Lunacy and Lurkers in the Capsule of Skull together, VLBRNR and Duality freely explore new concepts and concoctions. For Duality, Veilburner chose to expound on the mystical qualities and cultural significance of the number seven. Gimmicky? Arguably, but seven happens to be my favorite number, so I’m locked in like Monica Geller in “The One with Phoebe’s Uterus.” Seven songs. Seven minutes per song. DR score of seven. Numerous other compositional/lyrical nods to our whole number of the day. Veilburner committed, and it shows not just in their concrete cohesion of tones, textures, and themes. Duality contains an otherworldly, eerie, and distinctly ethereal character (even when compared to previous efforts); a laminar flow that allows forty-nine minutes of oddball blackened death to travel through a mere mortal’s nervous system like tea through a perfectly rendered clay kettle; and an infallible set of creative performances from Mephisto Deleterio (instruments) and Chrisom Infernium (vocals) that constitutes something just a bit different, but still unmistakably Veilburner.

Duality adeptly rebalances Veilburner’s two main draws, then accentuates them with subtle, but creative, adaptations to the format they’ve perfected over the course of their career. Opener “Tem Ohp Ab in Mysticum” isn’t particularly representative of those adaptations—however, listeners need not wait long before things get twisty. Standouts like “III Visions of Hex-Shaped Hiss, Behead the Howling Spirit” and “The Duality of Decapitation and Wisdom Pt. II” showcase a newfound emphasis on the psychedelic. Using this as the basis to form kaleidoscopic, yet hellish, atmospheres, Veilburner conjure up wild and writhing synths, bendy guitar leads, and staggering percussive rhythms. In concert, these tweaked elements coalesce into twisted visages of an alien nature that are at once terrifyingly tangible and invitingly incorporeal. No doubt, Chrisom Infernium’s scathing, psychotic rasps placed atop a rhythm that only occasionally aligns with the surrounding instrumentation strengthens the sensory power of this effect. Meanwhile, Veilburner penned some of their strongest hooks and most aggressive tempos to ground the aforementioned psychedelics. “The Duality of Decapitation and Wisdom Pt. I,” and album highlights “Shadow of a Shadow” and “Woe Ye’ Who Build These Crosses… Are Those Who Will Serve Us Death,” each embody the Hyde to Duality’s Jekyll, boasting extremely memorable riffs and motifs, grotesquely shimmering solo work, and, in the latter’s case, a downright thrashy energy that recalls old school Metallica if they hailed from the seventh circle of hell.

It’s unfortunate that Duality’s bookends are its weakest links. While the opener and closer fit extremely well within the context of the album and serve with a purpose innumerable bands struggle to capture, they lack zest on their own. “Tem Ohp…” is by-the-numbers Veilburner fare, which is a fine standard to hold as a starting point. However, Veilburner are not known for laurel-resting, and to hear, for the first time, material that could be transplanted on any of their last three records without much conflict gives me slight pause. Closer “V.I.I.,” on the other hand, veers a touch too far into experimental territory. Psychedelic and quasi-tribal in tone, but droning in nature, this closing act lives and dies by the percussive variety provided by the immensely talented Mephisto Deleterio. This alone prevents the song from falling into a repetitive pattern of admittedly sticky hooks and intriguing choral elements. Even so, “V.I.I.” prematurely saps momentum from Duality’s final moments.

These are mere quibbles, of course. Duality remains a unique, and exceedingly cool, record in the rich metallic tapestry that represents 2024. It would have to grow strongly from here—in an unrealistically short period of time—to reach the same list-topping glory as did Lurkers. Nonetheless, listeners can rest assured that Duality reinforces Veilburner’s reputation for reliability and creativity in an extremely challenging field. To those who would disagree, I say, “off with their heads!”

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: veilburner.bandcamp.com | facebook.com/veilburner
Releases Worldwide: November 15th, 2024

#2024 #35 #AmericanMetal #BlackMetal #DeathMetal #Metallica #Nov24 #ProgressiveBlackMetal #ProgressiveDeathMetal #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheDualityOfDecapitationAndWisdom #TranscendingObscurityRecords #Veilburner

Veilburner – The Duality of Decapitation and Wisdom Review

By Kenstrosity

Asheville, North Carolina’s motto, for the whole time I’d lived there, is “Stay Weird.” For the most part, we Ashevillians take that to heart. So, too, it seems, do Pennsylvania’s weird blackened death duo Veilburner. A studio project well regarded for their unorthodox songwriting style, Veilburner’s discography represents a masterclass on making weird and freaky music remarkably accessible without sacrificing grit or grime. The pinnacle of that exercise, Lurkers in the Capsule of Skull, saw Veilburner at their zenith, handily securing a top spot on my Albums o’ the Year in 2021. Follow-up VLBRNR fell shy of performing the same feat, and yet it still earned high marks. Consequently, I’ve come to rely on this duo for a good time, every time. Seventh in an unbroken streak of high-caliber strangeness, The Duality of Decapitation and Wisdom perpetuates Veilburner’s stalwart reliability.

No longer bound by the same thematic thread that strung A Sire to the Ghouls of Lunacy and Lurkers in the Capsule of Skull together, VLBRNR and Duality freely explore new concepts and concoctions. For Duality, Veilburner chose to expound on the mystical qualities and cultural significance of the number seven. Gimmicky? Arguably, but seven happens to be my favorite number, so I’m locked in like Monica Geller in “The One with Phoebe’s Uterus.” Seven songs. Seven minutes per song. DR score of seven. Numerous other compositional/lyrical nods to our whole number of the day. Veilburner committed, and it shows not just in their concrete cohesion of tones, textures, and themes. Duality contains an otherworldly, eerie, and distinctly ethereal character (even when compared to previous efforts); a laminar flow that allows forty-nine minutes of oddball blackened death to travel through a mere mortal’s nervous system like tea through a perfectly rendered clay kettle; and an infallible set of creative performances from Mephisto Deleterio (instruments) and Chrisom Infernium (vocals) that constitutes something just a bit different, but still unmistakably Veilburner.

Duality adeptly rebalances Veilburner’s two main draws, then accentuates them with subtle, but creative, adaptations to the format they’ve perfected over the course of their career. Opener “Tem Ohp Ab in Mysticum” isn’t particularly representative of those adaptations—however, listeners need not wait long before things get twisty. Standouts like “III Visions of Hex-Shaped Hiss, Behead the Howling Spirit” and “The Duality of Decapitation and Wisdom Pt. II” showcase a newfound emphasis on the psychedelic. Using this as the basis to form kaleidoscopic, yet hellish, atmospheres, Veilburner conjure up wild and writhing synths, bendy guitar leads, and staggering percussive rhythms. In concert, these tweaked elements coalesce into twisted visages of an alien nature that are at once terrifyingly tangible and invitingly incorporeal. No doubt, Chrisom Infernium’s scathing, psychotic rasps placed atop a rhythm that only occasionally aligns with the surrounding instrumentation strengthens the sensory power of this effect. Meanwhile, Veilburner penned some of their strongest hooks and most aggressive tempos to ground the aforementioned psychedelics. “The Duality of Decapitation and Wisdom Pt. I,” and album highlights “Shadow of a Shadow” and “Woe Ye’ Who Build These Crosses… Are Those Who Will Serve Us Death,” each embody the Hyde to Duality’s Jekyll, boasting extremely memorable riffs and motifs, grotesquely shimmering solo work, and, in the latter’s case, a downright thrashy energy that recalls old school Metallica if they hailed from the seventh circle of hell.

It’s unfortunate that Duality’s bookends are its weakest links. While the opener and closer fit extremely well within the context of the album and serve with a purpose innumerable bands struggle to capture, they lack zest on their own. “Tem Ohp…” is by-the-numbers Veilburner fare, which is a fine standard to hold as a starting point. However, Veilburner are not known for laurel-resting, and to hear, for the first time, material that could be transplanted on any of their last three records without much conflict gives me slight pause. Closer “V.I.I.,” on the other hand, veers a touch too far into experimental territory. Psychedelic and quasi-tribal in tone, but droning in nature, this closing act lives and dies by the percussive variety provided by the immensely talented Mephisto Deleterio. This alone prevents the song from falling into a repetitive pattern of admittedly sticky hooks and intriguing choral elements. Even so, “V.I.I.” prematurely saps momentum from Duality’s final moments.

These are mere quibbles, of course. Duality remains a unique, and exceedingly cool, record in the rich metallic tapestry that represents 2024. It would have to grow strongly from here—in an unrealistically short period of time—to reach the same list-topping glory as did Lurkers. Nonetheless, listeners can rest assured that Duality reinforces Veilburner’s reputation for reliability and creativity in an extremely challenging field. To those who would disagree, I say, “off with their heads!”

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: veilburner.bandcamp.com | facebook.com/veilburner
Releases Worldwide: November 15th, 2024

#2024 #35 #AmericanMetal #BlackMetal #DeathMetal #Metallica #Nov24 #ProgressiveBlackMetal #ProgressiveDeathMetal #ProgressiveMetal #PsychedelicMetal #Review #Reviews #TheDualityOfDecapitationAndWisdom #TranscendingObscurityRecords #Veilburner

Oranssi Pazuzu – Muuntautuja Review

By Twelve

You know how some people really don’t like the word “moist?” There’s an explicable-yet-incomprehensible element to it that makes people uncomfortable; an “I don’t get it, but I get it” element to the feeling that most everyone can follow, if not relate to. In that sense, it’s an excellent metaphor for Finland’s Oranssi Pazuzu and the psychedelic, avant-garde black metal they’ve been crafting since 2009. I previously reviewed Mestarin kynsi, their fifth full-length release, in 2020 and had a lot of trouble wrapping my head around the music; it was dense, unforgiving, and unpredictable, an album I both liked and disliked. While I think I put together a decent review at the time, I really had a hard time expressing that feeling. Over four years later, Oranssi Pazuzu return with Muuntautuja, a new challenge for my ears and mind. Do I like it? Do I understand it? Does it even matter?

Respectively, the answers are yes, I think so, and probably—while Oranssi Pazuzu remain as enigmatic as ever on Muuntautuja, the music is both darker and more straightforward, and as a result slightly less challenging than it’s been in the past. Mind you, the metal is still absolutely worthy of its album art, and it takes a whole lot of spins to even start to recall which song is which. Frantic drumming, manic guitar work, and incomprehensible vocals are accented with samples, symphonic elements, and “clean” intoning that give Oranssi Pazuzu a surprising amount of flexibility, leading to notable variance across Muuntautuja’s seven tracks. The title track, for instance, takes on an almost prog-like approach, opening with distorted, drumming and a sample that persists throughout the song. For a while, it hangs out in this mid-paced territory, all drums, synths, and vocals, before exploding into a lo-fi extravaganza of distorted shrieks, crushing riffs, and an oddball lead that evokes danger, anxiety, and tension. It never “fully” becomes black metal, but it is undeniably Oranssi Pazuzu.

In case my repeated use of “distortion” didn’t make it clear, the production on Muuntautuja is suffocating. Fuzz adorns every moment of every song, and no player is spared its wrath. What would normally be something I dislike works very well in this case, because the songs sound very good in dense, dark places. “Voitelu” is perhaps the best example, a song that sounds like it’s trying to give you claustrophobia. It is perhaps the most black metal of the bunch; its relentless insanity is broken only by the sudden introduction of haunting, ringing piano that gives it a faint essence of horror. It is followed by “Hautatuuli,” a false sense of safety that gives the bass a rare minute to shine before introducing haunting whispers that segue to a massive, creeping black metal crescendo that leans heavily on keys to give it a similarly horror-like motif. All of these tense, angry, “scary” moments are heavily benefitted by the all-consuming production style.

One drawback to this style, however, is that it doesn’t favor long songs as well as Oranssi Pazuzu have pulled off in the past. In particular, “Ikikäärme” struggles under its own weight, with lengthy piano, arpeggio, and, yes, suffocating black metal sections that all seem to take up more time than they need to. Here, the samples start to grate, and, rather than building tension, the lengthy creeping buildups just add to the song’s length. In a similar vein, closer “Vierivä usva” is essentially an atmospheric track that, despite its neat retro synths and terrific keyboard use, accomplishes very little over its five-minute runtime. With these two songs alone making up a full third of the album, Muuntautuja feels longer and more bloated than it needs to, despite a fairly succinct forty-two-minute runtime. I couldn’t say I think any songs are weak, but I do believe there is an over-reliance on atmosphere in the back half of the album.

To my ears, Muuntautuja is a notable improvement over Mestarin kynsi and a good example of how distortion, avant-garde songwriting, and elements of horror can make for strong, cathartic music. Nothing Oranssi Pazuzu does is predictable, but their ability to harness tension and imbue anguish into their compositions is a bright light in the dense, unending marsh that is Muuntautuja. I was skeptical, but Oranssi Pazuzu has convinced me there’s more to this style than I think. I will inevitably be drawn back for more.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Nuclear Blast Records
Websites: oranssipazuzu.bandcamp.com | facebook.com/pages/Oranssi-pazuzu/58437793552
Releases Worldwide: October 11th, 2024

#2024 #30 #AvantGardeMetal #BlackMetal #FinnishMetal #Muuntautuja #NuclearBlastRecords #Oct24 #OranssiPazuzu #PsychedelicMetal #Review #Reviews

Oranssi Pazuzu – Muuntautuja Review

By Twelve

You know how some people really don’t like the word “moist?” There’s an explicable-yet-incomprehensible element to it that makes people uncomfortable; an “I don’t get it, but I get it” element to the feeling that most everyone can follow, if not relate to. In that sense, it’s an excellent metaphor for Finland’s Oranssi Pazuzu and the psychedelic, avant-garde black metal they’ve been crafting since 2009. I previously reviewed Mestarin kynsi, their fifth full-length release, in 2020 and had a lot of trouble wrapping my head around the music; it was dense, unforgiving, and unpredictable, an album I both liked and disliked. While I think I put together a decent review at the time, I really had a hard time expressing that feeling. Over four years later, Oranssi Pazuzu return with Muuntautuja, a new challenge for my ears and mind. Do I like it? Do I understand it? Does it even matter?

Respectively, the answers are yes, I think so, and probably—while Oranssi Pazuzu remain as enigmatic as ever on Muuntautuja, the music is both darker and more straightforward, and as a result slightly less challenging than it’s been in the past. Mind you, the metal is still absolutely worthy of its album art, and it takes a whole lot of spins to even start to recall which song is which. Frantic drumming, manic guitar work, and incomprehensible vocals are accented with samples, symphonic elements, and “clean” intoning that give Oranssi Pazuzu a surprising amount of flexibility, leading to notable variance across Muuntautuja’s seven tracks. The title track, for instance, takes on an almost prog-like approach, opening with distorted, drumming and a sample that persists throughout the song. For a while, it hangs out in this mid-paced territory, all drums, synths, and vocals, before exploding into a lo-fi extravaganza of distorted shrieks, crushing riffs, and an oddball lead that evokes danger, anxiety, and tension. It never “fully” becomes black metal, but it is undeniably Oranssi Pazuzu.

In case my repeated use of “distortion” didn’t make it clear, the production on Muuntautuja is suffocating. Fuzz adorns every moment of every song, and no player is spared its wrath. What would normally be something I dislike works very well in this case, because the songs sound very good in dense, dark places. “Voitelu” is perhaps the best example, a song that sounds like it’s trying to give you claustrophobia. It is perhaps the most black metal of the bunch; its relentless insanity is broken only by the sudden introduction of haunting, ringing piano that gives it a faint essence of horror. It is followed by “Hautatuuli,” a false sense of safety that gives the bass a rare minute to shine before introducing haunting whispers that segue to a massive, creeping black metal crescendo that leans heavily on keys to give it a similarly horror-like motif. All of these tense, angry, “scary” moments are heavily benefitted by the all-consuming production style.

One drawback to this style, however, is that it doesn’t favor long songs as well as Oranssi Pazuzu have pulled off in the past. In particular, “Ikikäärme” struggles under its own weight, with lengthy piano, arpeggio, and, yes, suffocating black metal sections that all seem to take up more time than they need to. Here, the samples start to grate, and, rather than building tension, the lengthy creeping buildups just add to the song’s length. In a similar vein, closer “Vierivä usva” is essentially an atmospheric track that, despite its neat retro synths and terrific keyboard use, accomplishes very little over its five-minute runtime. With these two songs alone making up a full third of the album, Muuntautuja feels longer and more bloated than it needs to, despite a fairly succinct forty-two-minute runtime. I couldn’t say I think any songs are weak, but I do believe there is an over-reliance on atmosphere in the back half of the album.

To my ears, Muuntautuja is a notable improvement over Mestarin kynsi and a good example of how distortion, avant-garde songwriting, and elements of horror can make for strong, cathartic music. Nothing Oranssi Pazuzu does is predictable, but their ability to harness tension and imbue anguish into their compositions is a bright light in the dense, unending marsh that is Muuntautuja. I was skeptical, but Oranssi Pazuzu has convinced me there’s more to this style than I think. I will inevitably be drawn back for more.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Nuclear Blast Records
Websites: oranssipazuzu.bandcamp.com | facebook.com/pages/Oranssi-pazuzu/58437793552
Releases Worldwide: October 11th, 2024

#2024 #30 #AvantGardeMetal #BlackMetal #FinnishMetal #Muuntautuja #NuclearBlastRecords #Oct24 #OranssiPazuzu #PsychedelicMetal #Review #Reviews

Oranssi Pazuzu – Muuntautuja Review

By Twelve

You know how some people really don’t like the word “moist?” There’s an explicable-yet-incomprehensible element to it that makes people uncomfortable; an “I don’t get it, but I get it” element to the feeling that most everyone can follow, if not relate to. In that sense, it’s an excellent metaphor for Finland’s Oranssi Pazuzu and the psychedelic, avant-garde black metal they’ve been crafting since 2009. I previously reviewed Mestarin kynsi, their fifth full-length release, in 2020 and had a lot of trouble wrapping my head around the music; it was dense, unforgiving, and unpredictable, an album I both liked and disliked. While I think I put together a decent review at the time, I really had a hard time expressing that feeling. Over four years later, Oranssi Pazuzu return with Muuntautuja, a new challenge for my ears and mind. Do I like it? Do I understand it? Does it even matter?

Respectively, the answers are yes, I think so, and probably—while Oranssi Pazuzu remain as enigmatic as ever on Muuntautuja, the music is both darker and more straightforward, and as a result slightly less challenging than it’s been in the past. Mind you, the metal is still absolutely worthy of its album art, and it takes a whole lot of spins to even start to recall which song is which. Frantic drumming, manic guitar work, and incomprehensible vocals are accented with samples, symphonic elements, and “clean” intoning that give Oranssi Pazuzu a surprising amount of flexibility, leading to notable variance across Muuntautuja’s seven tracks. The title track, for instance, takes on an almost prog-like approach, opening with distorted, drumming and a sample that persists throughout the song. For a while, it hangs out in this mid-paced territory, all drums, synths, and vocals, before exploding into a lo-fi extravaganza of distorted shrieks, crushing riffs, and an oddball lead that evokes danger, anxiety, and tension. It never “fully” becomes black metal, but it is undeniably Oranssi Pazuzu.

In case my repeated use of “distortion” didn’t make it clear, the production on Muuntautuja is suffocating. Fuzz adorns every moment of every song, and no player is spared its wrath. What would normally be something I dislike works very well in this case, because the songs sound very good in dense, dark places. “Voitelu” is perhaps the best example, a song that sounds like it’s trying to give you claustrophobia. It is perhaps the most black metal of the bunch; its relentless insanity is broken only by the sudden introduction of haunting, ringing piano that gives it a faint essence of horror. It is followed by “Hautatuuli,” a false sense of safety that gives the bass a rare minute to shine before introducing haunting whispers that segue to a massive, creeping black metal crescendo that leans heavily on keys to give it a similarly horror-like motif. All of these tense, angry, “scary” moments are heavily benefitted by the all-consuming production style.

One drawback to this style, however, is that it doesn’t favor long songs as well as Oranssi Pazuzu have pulled off in the past. In particular, “Ikikäärme” struggles under its own weight, with lengthy piano, arpeggio, and, yes, suffocating black metal sections that all seem to take up more time than they need to. Here, the samples start to grate, and, rather than building tension, the lengthy creeping buildups just add to the song’s length. In a similar vein, closer “Vierivä usva” is essentially an atmospheric track that, despite its neat retro synths and terrific keyboard use, accomplishes very little over its five-minute runtime. With these two songs alone making up a full third of the album, Muuntautuja feels longer and more bloated than it needs to, despite a fairly succinct forty-two-minute runtime. I couldn’t say I think any songs are weak, but I do believe there is an over-reliance on atmosphere in the back half of the album.

To my ears, Muuntautuja is a notable improvement over Mestarin kynsi and a good example of how distortion, avant-garde songwriting, and elements of horror can make for strong, cathartic music. Nothing Oranssi Pazuzu does is predictable, but their ability to harness tension and imbue anguish into their compositions is a bright light in the dense, unending marsh that is Muuntautuja. I was skeptical, but Oranssi Pazuzu has convinced me there’s more to this style than I think. I will inevitably be drawn back for more.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Nuclear Blast Records
Websites: oranssipazuzu.bandcamp.com | facebook.com/pages/Oranssi-pazuzu/58437793552
Releases Worldwide: October 11th, 2024

#2024 #30 #AvantGardeMetal #BlackMetal #FinnishMetal #Muuntautuja #NuclearBlastRecords #Oct24 #OranssiPazuzu #PsychedelicMetal #Review #Reviews

#OranssiPazuzu #Muuntautuja
https://oranssipazuzu.bandcamp.com/album/muuntautuja

#metal #psychedelicmetal #psychedelic #blackmetal #doommetal

#OranssiPazuzu #Muuntautuja
https://oranssipazuzu.bandcamp.com/album/muuntautuja

#metal #psychedelicmetal #psychedelic #blackmetal #doommetal

#OranssiPazuzu #Muuntautuja
https://oranssipazuzu.bandcamp.com/album/muuntautuja

#metal #psychedelicmetal #psychedelic #blackmetal #doommetal

#OranssiPazuzu #Muuntautuja
https://oranssipazuzu.bandcamp.com/album/muuntautuja

#metal #psychedelicmetal #psychedelic #blackmetal #doommetal

Moose Cult – Book of the Machines Review

By Kenstrosity

UK progressive heavy/doom metal troupe Moose Cult should sound familiar to fans of the blog. Featuring members of Bull Elephant, Conglaciation, Monsterworks, The Anchoret, and Thūn, Moose Cult constitute a new installment in the Eat Lead and Die canon of artists that we’ve covered over the last decade. This project focuses on generalized environmental issues and human folly, justifying somewhat the band’s self-assigned moniker of “Envirometal.” While that does a poor job of illustrating what it is that Moose Cult plays beyond the scope of lyrical theme and content, sophomore record Book of the Machines won’t puzzle listeners nearly as much as the bespoke genre tag might.

Moose Cult’s closest living relative in the metalverse is very clearly Bull Elephant. Wild combinations of gritty heavy metal, aggressive doom, progressive metal and a touch of the extreme characterize Book of the Machines’ thirty-eight minutes. Gruff vocals reminiscent of Boss Keloid fused with Bütcher passionately deliver lyrics that tackle a wide array of uniquely human quandaries. Meanwhile, lurching guitars and pounding skins—along with an impressive variety of different blast beat variations—provide the muscle to move that kind of potentially weighty messaging. Moose Cult aren’t the first band to concern themselves with environmental matters, but their more vague, generalized approach to that theme differs greatly from the more story-driven, niche nature of Bull Elephant’s material. Whether that is a boon or a detractor is up for debate. However, I maintain that using a near-carbon copy of Bull Elephant’s blueprint to unleash a shotgun blast against human greed and mankind’s disregard for the environment, rather than crafting a more distinct sound to enact a focused attack on a specific environmental issue, works against Moose Cult’s favor.

Book of the Machines’ greatest fumble extends beyond plagiarism of sister projects’ style and application. A more damning lack of memorable songwriting leaves me with little of consequence to hold on to after the record concludes. Enjoyable and entertaining in the moment, stronger cuts like “Erewhon,” “Curse of Creation,” “Earth(l)ing,” and “Book of the Machines” do offer small nuggets worth preserving. “Curse of Creation” in particular features a beautiful, psychedelic ambience in its midsection that immerses me in vivid, kaleidoscopic light, only to bring me crashing back down to a ruined Earth a minute later. Highly effective puts it mildly. However, these moments aren’t strong enough to carry any song on its own, let alone an entire album filled with solid lyrical ideas that never got the development they deserved. Across Book of the Machines’ runtime, passages shift and shimmy with an arbitrary sort of movement that jostles arrangements enough to destabilize them. Put another way, this record is not a smooth one, and consequently feels disjointed and unsteady.

Despite its awkward songwriting and flimsy messaging, Book of the Machines holds potential. Throat singing embellishments and fantastic soloing help elevate tracks like “Gateway to Evolving Thought” and “Headless Cult” almost enough to establish a trademark sound for the band. Closer “Book of the Machines” accomplishes a similar feat, albeit with a completely different approach that evokes a more extreme variant of Killing Joke. If Moose Cult buckles down and unifies these more differentiated elements into a unique, but cohesive, palette that better stands on its own, all the better for future efforts. On the other hand, Moose Cult nailed the production with Book of the Machines. Rich, warm, textured, and dynamic, this record blooms with vibrant color and its varying instrumentation strikes an ideal clarity that deftly avoids an over-polished sheen.

Overall, I am disappointed with Moose Cult so far. I am a longtime fan of Bull Elephant and have heard good things about several of these artists’ other projects, but this record isn’t what it could’ve been. Between the sparse substance behind its theme and the plagiaristic nature of its musical content, Book of the Machines offers a substandard proof of concept that makes it difficult to buy in. Without focusing its message and finding a unique—or at least more creative—voice with which to express it, this record fails to make an impact. Therefore, I recommend passing on it, hanging tight, and waiting to hear where Moose Cult go from here.

Rating: Disappointing.
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Eat Lead and Die Music
Website: moosecult.bandcamp.com
Releases Worldwide: September 6th, 2024

#20 #2024 #BookOfTheMachines #BossKeloid #BullElephant #Bütcher #Conglaciation #DoomMetal #EatLeadAndDieMusic #HeavyMetal #KillingJoke #Monsterworks #MooseCult #ProgressiveMetal #PsychedelicMetal #Review #Reviews #Sep24 #TheAnchoret #Thūn #UKMetal

Moose Cult – Book of the Machines Review

By Kenstrosity

UK progressive heavy/doom metal troupe Moose Cult should sound familiar to fans of the blog. Featuring members of Bull Elephant, Conglaciation, Monsterworks, The Anchoret, and Thūn, Moose Cult constitute a new installment in the Eat Lead and Die canon of artists that we’ve covered over the last decade. This project focuses on generalized environmental issues and human folly, justifying somewhat the band’s self-assigned moniker of “Envirometal.” While that does a poor job of illustrating what it is that Moose Cult plays beyond the scope of lyrical theme and content, sophomore record Book of the Machines won’t puzzle listeners nearly as much as the bespoke genre tag might.

Moose Cult’s closest living relative in the metalverse is very clearly Bull Elephant. Wild combinations of gritty heavy metal, aggressive doom, progressive metal and a touch of the extreme characterize Book of the Machines’ thirty-eight minutes. Gruff vocals reminiscent of Boss Keloid fused with Bütcher passionately deliver lyrics that tackle a wide array of uniquely human quandaries. Meanwhile, lurching guitars and pounding skins—along with an impressive variety of different blast beat variations—provide the muscle to move that kind of potentially weighty messaging. Moose Cult aren’t the first band to concern themselves with environmental matters, but their more vague, generalized approach to that theme differs greatly from the more story-driven, niche nature of Bull Elephant’s material. Whether that is a boon or a detractor is up for debate. However, I maintain that using a near-carbon copy of Bull Elephant’s blueprint to unleash a shotgun blast against human greed and mankind’s disregard for the environment, rather than crafting a more distinct sound to enact a focused attack on a specific environmental issue, works against Moose Cult’s favor.

Book of the Machines’ greatest fumble extends beyond plagiarism of sister projects’ style and application. A more damning lack of memorable songwriting leaves me with little of consequence to hold on to after the record concludes. Enjoyable and entertaining in the moment, stronger cuts like “Erewhon,” “Curse of Creation,” “Earth(l)ing,” and “Book of the Machines” do offer small nuggets worth preserving. “Curse of Creation” in particular features a beautiful, psychedelic ambience in its midsection that immerses me in vivid, kaleidoscopic light, only to bring me crashing back down to a ruined Earth a minute later. Highly effective puts it mildly. However, these moments aren’t strong enough to carry any song on its own, let alone an entire album filled with solid lyrical ideas that never got the development they deserved. Across Book of the Machines’ runtime, passages shift and shimmy with an arbitrary sort of movement that jostles arrangements enough to destabilize them. Put another way, this record is not a smooth one, and consequently feels disjointed and unsteady.

Despite its awkward songwriting and flimsy messaging, Book of the Machines holds potential. Throat singing embellishments and fantastic soloing help elevate tracks like “Gateway to Evolving Thought” and “Headless Cult” almost enough to establish a trademark sound for the band. Closer “Book of the Machines” accomplishes a similar feat, albeit with a completely different approach that evokes a more extreme variant of Killing Joke. If Moose Cult buckles down and unifies these more differentiated elements into a unique, but cohesive, palette that better stands on its own, all the better for future efforts. On the other hand, Moose Cult nailed the production with Book of the Machines. Rich, warm, textured, and dynamic, this record blooms with vibrant color and its varying instrumentation strikes an ideal clarity that deftly avoids an over-polished sheen.

Overall, I am disappointed with Moose Cult so far. I am a longtime fan of Bull Elephant and have heard good things about several of these artists’ other projects, but this record isn’t what it could’ve been. Between the sparse substance behind its theme and the plagiaristic nature of its musical content, Book of the Machines offers a substandard proof of concept that makes it difficult to buy in. Without focusing its message and finding a unique—or at least more creative—voice with which to express it, this record fails to make an impact. Therefore, I recommend passing on it, hanging tight, and waiting to hear where Moose Cult go from here.

Rating: Disappointing.
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Eat Lead and Die Music
Website: moosecult.bandcamp.com
Releases Worldwide: September 6th, 2024

#20 #2024 #BookOfTheMachines #BossKeloid #BullElephant #Bütcher #Conglaciation #DoomMetal #EatLeadAndDieMusic #HeavyMetal #KillingJoke #Monsterworks #MooseCult #ProgressiveMetal #PsychedelicMetal #Review #Reviews #Sep24 #TheAnchoret #Thūn #UKMetal

Moose Cult – Book of the Machines Review

By Kenstrosity

UK progressive heavy/doom metal troupe Moose Cult should sound familiar to fans of the blog. Featuring members of Bull Elephant, Conglaciation, Monsterworks, The Anchoret, and Thūn, Moose Cult constitute a new installment in the Eat Lead and Die canon of artists that we’ve covered over the last decade. This project focuses on generalized environmental issues and human folly, justifying somewhat the band’s self-assigned moniker of “Envirometal.” While that does a poor job of illustrating what it is that Moose Cult plays beyond the scope of lyrical theme and content, sophomore record Book of the Machines won’t puzzle listeners nearly as much as the bespoke genre tag might.

Moose Cult’s closest living relative in the metalverse is very clearly Bull Elephant. Wild combinations of gritty heavy metal, aggressive doom, progressive metal and a touch of the extreme characterize Book of the Machines’ thirty-eight minutes. Gruff vocals reminiscent of Boss Keloid fused with Bütcher passionately deliver lyrics that tackle a wide array of uniquely human quandaries. Meanwhile, lurching guitars and pounding skins—along with an impressive variety of different blast beat variations—provide the muscle to move that kind of potentially weighty messaging. Moose Cult aren’t the first band to concern themselves with environmental matters, but their more vague, generalized approach to that theme differs greatly from the more story-driven, niche nature of Bull Elephant’s material. Whether that is a boon or a detractor is up for debate. However, I maintain that using a near-carbon copy of Bull Elephant’s blueprint to unleash a shotgun blast against human greed and mankind’s disregard for the environment, rather than crafting a more distinct sound to enact a focused attack on a specific environmental issue, works against Moose Cult’s favor.

Book of the Machines’ greatest fumble extends beyond plagiarism of sister projects’ style and application. A more damning lack of memorable songwriting leaves me with little of consequence to hold on to after the record concludes. Enjoyable and entertaining in the moment, stronger cuts like “Erewhon,” “Curse of Creation,” “Earth(l)ing,” and “Book of the Machines” do offer small nuggets worth preserving. “Curse of Creation” in particular features a beautiful, psychedelic ambience in its midsection that immerses me in vivid, kaleidoscopic light, only to bring me crashing back down to a ruined Earth a minute later. Highly effective puts it mildly. However, these moments aren’t strong enough to carry any song on its own, let alone an entire album filled with solid lyrical ideas that never got the development they deserved. Across Book of the Machines’ runtime, passages shift and shimmy with an arbitrary sort of movement that jostles arrangements enough to destabilize them. Put another way, this record is not a smooth one, and consequently feels disjointed and unsteady.

Despite its awkward songwriting and flimsy messaging, Book of the Machines holds potential. Throat singing embellishments and fantastic soloing help elevate tracks like “Gateway to Evolving Thought” and “Headless Cult” almost enough to establish a trademark sound for the band. Closer “Book of the Machines” accomplishes a similar feat, albeit with a completely different approach that evokes a more extreme variant of Killing Joke. If Moose Cult buckles down and unifies these more differentiated elements into a unique, but cohesive, palette that better stands on its own, all the better for future efforts. On the other hand, Moose Cult nailed the production with Book of the Machines. Rich, warm, textured, and dynamic, this record blooms with vibrant color and its varying instrumentation strikes an ideal clarity that deftly avoids an over-polished sheen.

Overall, I am disappointed with Moose Cult so far. I am a longtime fan of Bull Elephant and have heard good things about several of these artists’ other projects, but this record isn’t what it could’ve been. Between the sparse substance behind its theme and the plagiaristic nature of its musical content, Book of the Machines offers a substandard proof of concept that makes it difficult to buy in. Without focusing its message and finding a unique—or at least more creative—voice with which to express it, this record fails to make an impact. Therefore, I recommend passing on it, hanging tight, and waiting to hear where Moose Cult go from here.

Rating: Disappointing.
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Eat Lead and Die Music
Website: moosecult.bandcamp.com
Releases Worldwide: September 6th, 2024

#20 #2024 #BookOfTheMachines #BossKeloid #BullElephant #Bütcher #Conglaciation #DoomMetal #EatLeadAndDieMusic #HeavyMetal #KillingJoke #Monsterworks #MooseCult #ProgressiveMetal #PsychedelicMetal #Review #Reviews #Sep24 #TheAnchoret #Thūn #UKMetal

Vile Rites – Senescence Review

By Iceberg

I don’t often reach for OSDM revival promos, a genre I feel has been discovered, explored, conquered, and overrun. Fate had other things in mind for me, it seems when I found Vile Rites’ proper debut Senescence. Drawn to its label of “progressive death metal,” imagine my surprise when I found a sea of neo-OSDM lurking beneath. The Santa Rosa trio dipped their toes in the scene with 2022’s EP The Ageless and spent their time touring that record to perfect their coming-out opus, Senescence. As a member of the AMG Inc. Hydro Homies™, I’m duty-bound to snag any aquatic cover. So with Senescence in my icy grasp, I eagerly let the sounds of “Only Silence Follows” wash over me.

Vile Rites’ ability to seamlessly blend OSDM influences into their signature sound shows wisdom beyond the band’s years. You’ll find the foundational elements of Floridian Death Metal–Morbid Angel and Death chainsaw riffs and blistering backbeats–especially in the warm-up routine of opener “Only Silence Follows.” But as the album progresses Vile Rites stretch the edges of the music, toying with odd-time signature passages and whiplash tempo shifts that remind me of the proggier moments of Gorguts, or a less frenetic Faceless Burial (“Senescence,” “Shiftless Wanderings”). The trio is a favored format for this style of death metal, and Vile Rites use their limited lineup skillfully. Skinsman Aerie Johnson wears the OSDM and prog hats equally well, straddling the line somewhere between Richard Christie and Between The Buried And Me’s Blake Richardson. Bandleader, guitarist, and vocalist Alex Miletich excels on all three fronts, delivering a pleasantly discernible death roar, alongside notable solos that form the center of nearly every track here. Stephen Coon’s bass performance is magnificent, taking the lead on melodies as often as supporting the harmonic structure. The album’s eerie, watery quality is due in no small part to the work of a bass guitar tone drenched in springy reverb and muted blues.

The straightforward death metal material on Senescence is quite good, but the stranger Vile Rites gets, the better they get. Take, for instance, the recurring theremin-like synth waves, emerging from the inky blackness, threatening to overwhelm, before disappearing once again (“Only Silence Follows,” “Transcendent Putrefaction”). Or the lengthy middle section of “Transcendent Putrefaction” that suspends both momentum and harmony and just when it seems you’ve lost your way in the song, Johnson drops in on a swinging, shuffle groove that would be wildly out of place in lesser hands. Even the interlude, ever the albatross of albums, knows just how long to last with its gentle picked guitar and synths swirling amidst a summer storm (“Ephemeral Reverie of Eroded Dreams”). The band—along with that elegant cover, mysterious and melancholy—use atmosphere and smart, inventive riffcraft to drag the listener down, and the end result is impressive.

The more I listened to Senescence, the harder it was to find faults in its design. Longform closer “Banished To Solitude (Adrift On The Infinite Waves)” has plenty of high moments, from a nasty decelerator of a riff in it’s opening, to a menacing build-up just before the final chorus, and dueling bass and guitar solos to round out the album. I could nitpick and say that the outro drags on just a bit too long, and that the buildup, absolutely loaded with potential energy, meets its release just a few bars too early, but I’m really splitting hairs here. The one point I will level at the band is that I can’t help but feel that they’re hovering right on the precipice of a stellar album, but haven’t quite found it. This is a nebulous criticism that’s hard to quantify, but while everything is executed near-perfectly in these six tracks, very little left me awestruck, and I think Vile Rites has the tools to do just that.

Vile Rites have produced a debut album that comes so close to swatting the counter it hurts. Loaded with mind-bending stanky riffs, soaring solos, and glistening proggy diversions, Senescence is a must-listen for all fans of the OSDM revival movement. I think Vile Rites will find their path forward in the riches of “Banished To Solitude…” and a continued incursion into stranger, wilder sound worlds. Keep your eyes fixated on the movements of these Santa Rosa boys, a leviathan may be lurking in their future.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: vilerites.bandcamp.com | facebook.com/VileRites
Releases Worldwide: August 16th, 2024

#2024 #35 #AmericanMetal #Aug24 #BetweenTheBuriedAndMe #BlackenedDeathMetal #CarbonizedRecords #Death #DeathMetal #FacelessBurial #Gorguts #MorbidAngel #ProgressiveDeathMetal #PsychedelicMetal #Review #Reviews #Senescence #VileRites

Vile Rites – Senescence Review

By Iceberg

I don’t often reach for OSDM revival promos, a genre I feel has been discovered, explored, conquered, and overrun. Fate had other things in mind for me, it seems when I found Vile Rites’ proper debut Senescence. Drawn to its label of “progressive death metal,” imagine my surprise when I found a sea of neo-OSDM lurking beneath. The Santa Rosa trio dipped their toes in the scene with 2022’s EP The Ageless and spent their time touring that record to perfect their coming-out opus, Senescence. As a member of the AMG Inc. Hydro Homies™, I’m duty-bound to snag any aquatic cover. So with Senescence in my icy grasp, I eagerly let the sounds of “Only Silence Follows” wash over me.

Vile Rites’ ability to seamlessly blend OSDM influences into their signature sound shows wisdom beyond the band’s years. You’ll find the foundational elements of Floridian Death Metal–Morbid Angel and Death chainsaw riffs and blistering backbeats–especially in the warm-up routine of opener “Only Silence Follows.” But as the album progresses Vile Rites stretch the edges of the music, toying with odd-time signature passages and whiplash tempo shifts that remind me of the proggier moments of Gorguts, or a less frenetic Faceless Burial (“Senescence,” “Shiftless Wanderings”). The trio is a favored format for this style of death metal, and Vile Rites use their limited lineup skillfully. Skinsman Aerie Johnson wears the OSDM and prog hats equally well, straddling the line somewhere between Richard Christie and Between The Buried And Me’s Blake Richardson. Bandleader, guitarist, and vocalist Alex Miletich excels on all three fronts, delivering a pleasantly discernible death roar, alongside notable solos that form the center of nearly every track here. Stephen Coon’s bass performance is magnificent, taking the lead on melodies as often as supporting the harmonic structure. The album’s eerie, watery quality is due in no small part to the work of a bass guitar tone drenched in springy reverb and muted blues.

The straightforward death metal material on Senescence is quite good, but the stranger Vile Rites gets, the better they get. Take, for instance, the recurring theremin-like synth waves, emerging from the inky blackness, threatening to overwhelm, before disappearing once again (“Only Silence Follows,” “Transcendent Putrefaction”). Or the lengthy middle section of “Transcendent Putrefaction” that suspends both momentum and harmony and just when it seems you’ve lost your way in the song, Johnson drops in on a swinging, shuffle groove that would be wildly out of place in lesser hands. Even the interlude, ever the albatross of albums, knows just how long to last with its gentle picked guitar and synths swirling amidst a summer storm (“Ephemeral Reverie of Eroded Dreams”). The band—along with that elegant cover, mysterious and melancholy—use atmosphere and smart, inventive riffcraft to drag the listener down, and the end result is impressive.

The more I listened to Senescence, the harder it was to find faults in its design. Longform closer “Banished To Solitude (Adrift On The Infinite Waves)” has plenty of high moments, from a nasty decelerator of a riff in it’s opening, to a menacing build-up just before the final chorus, and dueling bass and guitar solos to round out the album. I could nitpick and say that the outro drags on just a bit too long, and that the buildup, absolutely loaded with potential energy, meets its release just a few bars too early, but I’m really splitting hairs here. The one point I will level at the band is that I can’t help but feel that they’re hovering right on the precipice of a stellar album, but haven’t quite found it. This is a nebulous criticism that’s hard to quantify, but while everything is executed near-perfectly in these six tracks, very little left me awestruck, and I think Vile Rites has the tools to do just that.

Vile Rites have produced a debut album that comes so close to swatting the counter it hurts. Loaded with mind-bending stanky riffs, soaring solos, and glistening proggy diversions, Senescence is a must-listen for all fans of the OSDM revival movement. I think Vile Rites will find their path forward in the riches of “Banished To Solitude…” and a continued incursion into stranger, wilder sound worlds. Keep your eyes fixated on the movements of these Santa Rosa boys, a leviathan may be lurking in their future.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: vilerites.bandcamp.com | facebook.com/VileRites
Releases Worldwide: August 16th, 2024

#2024 #35 #AmericanMetal #Aug24 #BetweenTheBuriedAndMe #BlackenedDeathMetal #CarbonizedRecords #Death #DeathMetal #FacelessBurial #Gorguts #MorbidAngel #ProgressiveDeathMetal #PsychedelicMetal #Review #Reviews #Senescence #VileRites

Vile Rites – Senescence Review

By Iceberg

I don’t often reach for OSDM revival promos, a genre I feel has been discovered, explored, conquered, and overrun. Fate had other things in mind for me, it seems when I found Vile Rites’ proper debut Senescence. Drawn to its label of “progressive death metal,” imagine my surprise when I found a sea of neo-OSDM lurking beneath. The Santa Rosa trio dipped their toes in the scene with 2022’s EP The Ageless and spent their time touring that record to perfect their coming-out opus, Senescence. As a member of the AMG Inc. Hydro Homies™, I’m duty-bound to snag any aquatic cover. So with Senescence in my icy grasp, I eagerly let the sounds of “Only Silence Follows” wash over me.

Vile Rites’ ability to seamlessly blend OSDM influences into their signature sound shows wisdom beyond the band’s years. You’ll find the foundational elements of Floridian Death Metal–Morbid Angel and Death chainsaw riffs and blistering backbeats–especially in the warm-up routine of opener “Only Silence Follows.” But as the album progresses Vile Rites stretch the edges of the music, toying with odd-time signature passages and whiplash tempo shifts that remind me of the proggier moments of Gorguts, or a less frenetic Faceless Burial (“Senescence,” “Shiftless Wanderings”). The trio is a favored format for this style of death metal, and Vile Rites use their limited lineup skillfully. Skinsman Aerie Johnson wears the OSDM and prog hats equally well, straddling the line somewhere between Richard Christie and Between The Buried And Me’s Blake Richardson. Bandleader, guitarist, and vocalist Alex Miletich excels on all three fronts, delivering a pleasantly discernible death roar, alongside notable solos that form the center of nearly every track here. Stephen Coon’s bass performance is magnificent, taking the lead on melodies as often as supporting the harmonic structure. The album’s eerie, watery quality is due in no small part to the work of a bass guitar tone drenched in springy reverb and muted blues.

The straightforward death metal material on Senescence is quite good, but the stranger Vile Rites gets, the better they get. Take, for instance, the recurring theremin-like synth waves, emerging from the inky blackness, threatening to overwhelm, before disappearing once again (“Only Silence Follows,” “Transcendent Putrefaction”). Or the lengthy middle section of “Transcendent Putrefaction” that suspends both momentum and harmony and just when it seems you’ve lost your way in the song, Johnson drops in on a swinging, shuffle groove that would be wildly out of place in lesser hands. Even the interlude, ever the albatross of albums, knows just how long to last with its gentle picked guitar and synths swirling amidst a summer storm (“Ephemeral Reverie of Eroded Dreams”). The band—along with that elegant cover, mysterious and melancholy—use atmosphere and smart, inventive riffcraft to drag the listener down, and the end result is impressive.

The more I listened to Senescence, the harder it was to find faults in its design. Longform closer “Banished To Solitude (Adrift On The Infinite Waves)” has plenty of high moments, from a nasty decelerator of a riff in it’s opening, to a menacing build-up just before the final chorus, and dueling bass and guitar solos to round out the album. I could nitpick and say that the outro drags on just a bit too long, and that the buildup, absolutely loaded with potential energy, meets its release just a few bars too early, but I’m really splitting hairs here. The one point I will level at the band is that I can’t help but feel that they’re hovering right on the precipice of a stellar album, but haven’t quite found it. This is a nebulous criticism that’s hard to quantify, but while everything is executed near-perfectly in these six tracks, very little left me awestruck, and I think Vile Rites has the tools to do just that.

Vile Rites have produced a debut album that comes so close to swatting the counter it hurts. Loaded with mind-bending stanky riffs, soaring solos, and glistening proggy diversions, Senescence is a must-listen for all fans of the OSDM revival movement. I think Vile Rites will find their path forward in the riches of “Banished To Solitude…” and a continued incursion into stranger, wilder sound worlds. Keep your eyes fixated on the movements of these Santa Rosa boys, a leviathan may be lurking in their future.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: vilerites.bandcamp.com | facebook.com/VileRites
Releases Worldwide: August 16th, 2024

#2024 #35 #AmericanMetal #Aug24 #BetweenTheBuriedAndMe #BlackenedDeathMetal #CarbonizedRecords #Death #DeathMetal #FacelessBurial #Gorguts #MorbidAngel #ProgressiveDeathMetal #PsychedelicMetal #Review #Reviews #Senescence #VileRites

The new Opeth single makes it seems like the band is on their way back to making their music a bit harder again. https://song.link/s/1wkWkXCdHR4nGViHA3I9Yc #psychedelicMetal #HammondOrgan #deathMetal

I’m all for it!

The new Opeth single makes it seems like the band is on their way back to making their music a bit harder again. https://song.link/s/1wkWkXCdHR4nGViHA3I9Yc #psychedelicMetal #HammondOrgan #deathMetal

I’m all for it!

The new Opeth single makes it seems like the band is on their way back to making their music a bit harder again. https://song.link/s/1wkWkXCdHR4nGViHA3I9Yc #psychedelicMetal #HammondOrgan #deathMetal

I’m all for it!

The new Opeth single makes it seems like the band is on their way back to making their music a bit harder again. https://song.link/s/1wkWkXCdHR4nGViHA3I9Yc #psychedelicMetal #HammondOrgan #deathMetal

I’m all for it!