#sep25 — Public Fediverse posts

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

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

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

Kenstrosity’s Jaunty Juke

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

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

Baguette’s Bouncy Blessing

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

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

Thus Spoke’s Lurid Leftovers

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

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

Spicie Forrest’s Sautéed Surplus

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

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

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

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

ClarkKent’s Melodic Monstrosities

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

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

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

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

Grin Reaper’s Woodland Windfall

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

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

Dolphin Whisperer’s Very Not Late Novella

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

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

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

Mrs. Frighthouse – Solitude Over Control Review

By Dear Hollow

How much noise is too much? I used to believe you could never have too much noise, with bands like Theatruum and La Torture des Ténèbres weaponizing it for respectively vicious and otherworldly approaches. Then bands like Ulveblod and the infamous Ordeal & Triumph collaboration happened – and I lost my naivety. Ultimately, as we will see with duo Mrs. Frighthouse, diving into the noise genre offers a low ceiling and an equally low floor. Some of the worst music I’ve reviewed has had the “noise” tag attached to it, while some of the most okayest music I’ve reviewed also has noise attached to it – previously mentioned acts being controversial exceptions. It’s either the worst thing you’ve heard or okay. Mrs. Frighthouse is a light, er, fright in a sea of noise – for better or worse.

Glasgow-based Mrs. Frighthouse consists of wife and wife duo Carys and Luna Frighthouse, known as Mrs. and Mrs. on stage. Featuring an unflinching lyrical attack on misogyny, homophobia, and transphobia, and a musical approach as venomous, it recalls the likes of early Lingua Ignota, Couch Slut, and Julie Christmas. What hooked me was its mastering by Khanate bassist James Plotkin – anything that reminds of the menacing crawl that the drone legends conjure was a perk. However, like any noise album that focuses on ugliness and discordance, the audience is limited, the replay value is near null, and its strengths are a novelty in many ways. Featuring manic vocals both harsh and operatic to contrast with the suffocating noise, Mrs. Frighthouse wins points for charisma, but Solitude Over Control is still very much a noise album.

To my relief, Mrs. Frighthouse utilizes opaqueness and density to its benefit, avoiding the painful awkwardness of Läjä Äijälä & Albert Witchfinder’s trainwreck of a collaboration. Plotkin’s services are put to good use, as the backbone of sound is suffocating and all-encompassing in a way that recalls drone’s colossal density, an expanse of ominous tones upon which Mrs. and Mrs. traverse with their vocal journeys. Throw in some haunting ritualistic drumming patterns and minor organ trills, Mrs. Frighthouse crafts horrific soundscapes using an expert blend of clarity, melody, and discordance to match their surprisingly dynamic foray into noise. This is no Oscillotron – Mrs. Frighthouse knows how to write songs. While at first glance the sea of noise is a constant hum, those willing to delve beneath the surface will find smart songwriting aplenty.

The contrast between clarity and density is a clear priority in Solitude Over Control – which ends up being its most controversial element. From the aggressive industrial pulse paired with thick waves of noise easy to get lost in (“DIY Exorcism,” “White Plaster Rooms”) to more subtle crawling pieces with screeching soprano trills that feel strangely confrontational (“Seagulls” part 1 and 2, “Let My Spit Be Poison”), while creeping melodic motifs are warped and bastardized by the static (“Our Culture Without Autonomy,” “My Body is a Crime Scene”), Mrs. Frighthouse is a tour-de-force of metallic aggression without a riff in sight. Solitude Over Control wears its themes on its sleeves in sometimes awkward forthrightness, as both Mrs.’s spew vitriol over the misogyny, homophobia, and transphobia witnessed and experienced, matching the aggression and viciousness of the music. The closing title track is worthy of mention, because its slow-burning crescendo is a maddening and horrifying end to a maddening and horrifying album – a nerve-frying culmination of Mrs. Frighthouse’s best and worst.

Almost everything about Solitude Over Control feels intentional, but holy shit, is it unflinching and uncomfortable. Mrs. Frighthouse’s two vocals are insanely charismatic in their blend of shrieks, growls, operatic belts, whispers, and shouts, propelling the movement of the noise as it emerges and disappears in the sea of noise. Plotkin’s mastering adds a suffocating and claustrophobic quality that adds to the menace and aggression. Some tracks you’ll find yourself getting lost in the swaths of noise and industrial harshness, others you’ll find yourself blushing in the awkward stark clarity of the vocals. Mrs. Frighthouse offers a better noise album than most and is closer to the ceiling, but due to the divisiveness of the style and the starkness of some of the minimalist pieces, the reception will be mixed. Noise fans rejoice, all others steer clear.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: mrsfrighthouse.bandcamp.com | facebook.com/mrsfrighthouse
Releases Worldwide: September 26th, 2025

#25 #2025 #CouchSlut #Drone #Industrial #JulieChristmas #Khanate #LaTortureDesTénèbres #LäjäÄijäläAlbertWitchfinder #LinguaIgnota #MrsFrighthouse #Noise #Oscillotron #Review #Reviews #ScottishMetal #SelfRelease #Sep25 #SolitudeOverControl #Theatruum #Ulveblod

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Crucible – Hail to the Force Review

By Steel Druhm

By: Nameless_n00b_604

Whether you’re a fledgling artist or an industry veteran, the process of making music is hard, strewn with obstacles internal and external. For the speed/US-inspired power metallers Crucible, that obstacle was Mother Nature, who gifted them a massive snowstorm that drastically impeded their studio time to record their debut album Hail to the Force. The Danes, thus, banged out the entire ten-track, thirty-seven-minute record in a week. For a young band recording a debut together, that’s nuts. But we’re not here for the story—we’re here for the album, a throwback affair of promo-purported “ferocious aggression with strong melodies and epic heavy metal atmospheres.” Did Nature not want this thing made, or was she testing Crucible to give Hail to the Force the fire they need to stand amongst the Metal Gods they venerate?

Crucible really likes the ’80s. Throughout Hail to the Force, Crucible administer Judas Priestly heroics at Riotous speeds, ripping Defenders of the Faith leads on the title track and injecting “Savage Weapon” with Thundersteel adrenaline. Openers “Deathdealer” and “Embrace of Steele” are as archetypically speed metal as they come, awash with thundering drums and bass by Ole Iversen and Kenneth Frandsen respectively, soaring vocals by Phillip Butler (Pectora) and massively palm-muted riffs by guitarists Thomas Carnell (Impalers) and Jon Brogård. “Manic Minute” sees Butler deliver power metal wails as the band rages with Motörhead delinquency, while “Far Beyond the Grave” revels in the retro futuristic aesthetics of Iron Maiden’s Somewhere in Time. They even recall fellow throwback acts, deploying belligerent vocals on “Evilforce” reminiscent of Livewire and the modernly loud, yet organic production of Riot City. Without question, Crucible is married to their influences.

Crucible brings talent and vitality to Hail to the Force, but never escapes their influences’ shadows. Stomping the pedal down and rarely letting up, with “Evilforce” and “Mad Minute” showcasing their most frantic capabilities, Crucible can’t be accused of sluggishness. Neither could their guitarists be justly labeled as shlubs: their solos are brimming with sharp, vintage shredding and tasteful sweeping. But too often, Crucible stick to the speed metal playbook like glue. “Deathdealer,” “Savage Weapon” and the title track mimic thrashy power metal riffs and piercing wails done countless times before them, leaving little of their own DNA in the mix. Rhythmically, Crucible keeps it basic, only flirting with groove on “Far Beyond the Grave” and some surprise stop-and-starts throughout. Unexpectedly, the instrumental “While My Guitar Gently Sweeps” with its Bladerunner-evocative synth-scape, relaxed tempo and root-note-escaping bass lines showcase Crucible at their freshest and reveal how one-note much of the other songs can be. Hail to the Force is undeniably fun, but its derivativeness leaves it stuck in the realm of mere tribute.

Sadly, awkward songwriting pulls Hail to the Force down further. Crucible’s short-and-sweet songcraft is admirable, demonstrating a willingness to self-edit, but many tracks feel somewhat half-baked. “Deathdealer’s” solo ends anticlimactically, while “Mad Minute” wraps up with little resolution following its solo. Despite short runtimes, over-repetition remains a problem, with “Redwing” wearing thin its Maidenesque “oh-oh” bridge and the title track wearing its name out with overuse. Vocals can also flounder, as Butler’s lines—kept primarily to a high, strained register—are sometimes clunky. “Embrace of Steele’s” chorus sounds off-balance, like it’s rushing through its last couple lines, while the melismatic runs in “Far Beyond the Grave” don’t sound strictly in-key. Butler’s best performance is on “Splashed to the Four Winds,” a Judas Priest-like bruiser where he plays a veritable Halford and, coincidentally, sings lower than normal. Nothing on Hail to the Force is bad or—worse—boring, but enough nitpicks keep most of Crucible’s offerings from reaching their fullest potential.

Hail to the Force is enjoyable, but I know Crucible have more interesting material in them. Crucible know how to trim down, which is half the battle of good music, but now they need to learn when to let loose. If the power and chutzpah Crucible exhibited on this record were to appear on a more adventurously diverse sophomore release, it would make for a gangbusters follow-up. But as is, fans of the olde school will likely appreciate Hail to the Force’s retro aesthetics, youthful enthusiasm, and proficient musicianship. I just hope Mother Nature cuts Crucible a break for their next one.

Rating: Mixed.
DR: 6 | Review Format: 320 kb/s mp3
Label: From the Vaults
Websites: crucibledk.bandcamp | facebook.com/cruciblespeedmetal | instagram.com/cruciblespeedmetal
Release Date: September 12th, 2025

#25 #2025 #Crucible #DanishMetal #FromTheVaults #HailToTheForce #HeavyMetal #IronMaiden #JudasPriest #LiveWire #Motörhead #PowerMetal #Review #Reviews #Riot #RiotCity #RiotV #Sep25 #SpeedMetal

Æl-Fierlen – All Is Far Away Review

By Killjoy

Like a specter emerging from the mist, Æl-Fierlen is a brand new post-black metal act that materialized in Southern England in 2024. Their name comes from an Anglo-Saxon phrase meaning “all is far away,” making their debut something of an eponymous record. This phrase resonates with me because, despite living so close to many wonderful outdoor locations, I don’t make nearly as much time as I ought to experience them. As if beckoning to me, Æl-Fierlen sums up their sound with the simple declaration, “We are what the woods sounds like.” If you long to become lost in mystic marvels, come take a walk through the metaphorical trees.

Just as a forest has both light and dark spots, so does the music of Æl-Fierlen. In this way, they sound very much like a sister group of Helga, weaving elegant post-rock together with strands of black metal. There is also a discernible folk tinge akin to cousin groups Kalandra and Suldusk. Æl-Fierlen mainly sticks to the brighter style of Kalandra, like a well-lit clearing near the outskirts. But sometimes the compositions dare to venture into darker Suldusk territory with ominous whispers and guitar strumming that erupt into blast beats and shrieks without warning. What these three related groups have in common is a captivating female lead vocalist, and Æl-Fierlen is similarly rooted in Stephanie Moffatt’s enchanting voice.

A lot hinges on Moffatt’s vocals and she comes through in a big way. Her singing has an otherworldly, spectral quality, yet is also warm and inviting. Then, in the final verse of “To Sleep Eternal,” she shifts to a higher octave which heightens the drama for a flourishing finish. However, much like Sylvaine, she is not confined to ethereal tones, adopting a piercing bite when the occasion calls for it. “Eðe”1 is the prime example of her masterful mixture of chilling rasps and guttural growls, and it also happens to be the song with the most black metal influence. Her coarse whispers cast a menacing shadow over “Pulrose,” just enough for an underscoring effect without being overused. All in all, Moffatt’s versatility is one of Æl-Fierlen’s most important assets.

Examined holistically, though, All Is Far Away seems a little thin in both sound and content. This is partly because the instrumental side often takes a stripped-back form, likely to accommodate the vocals. The other band members do have their moments to shine; I particularly enjoy it when Rob Melville’s guitar tremolos intertwine with drummer Ginger’s knotted double bass drum rhythms in the back half of “Ællmiht.” It’s just that these moments aren’t as pronounced or developed as I’d prefer. This might not have been much of an issue if there were a bit more to chew on. Clocking in at 33 minutes across only four tracks, All Is Far Away is barely longer than an EP. To Æl-Fierlen’s credit, even though most of the songs are in the 8-11 minute range, they flow silkily and hardly feel their length. One more such song would have been perfect.

Æl-Fierlen has a keen sense of grace and beauty. If, like me, you find it hard to set aside time to be physically present in nature, All Is Far Away offers a charming aural jaunt through the woods. Stephanie Moffatt’s delightful and multifaceted voice perfectly suits the evocative atmosphere. Each of the four tracks has its own distinct character, one leading into the next like a gently flowing brook. All Is Far Away is a cohesive and convincing first effort from a nascent group, albeit a tad on the lean side. While this may be more of a foundational work, I look forward to hearing what Æl-Fierlen builds atop it in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: ael-fierlen.bandcamp.com | facebook.com/AElFierlen
Releases Worldwide: September 19th, 2025

#2025 #30 #AllIsFarAway #ÆlFierlen #BlackMetal #BritishMetal #FolkMetal #Helga #Kalandra #PostRock #Review #Reviews #SelfRelease #Sep25 #Suldusk #Sylvaine

Igorrr – Amen Review

By Dear Hollow

Igorrr’s fifth full-length Amen symbolizes a logical and natural progression – a refinement of what was hinted at in 2020’s already excellent Spirituality and Distortion. While retaining everything that makes the project absolutely batshit crazy, the addition of a full cast of musicians in 2017 has borne fruit in striking balance. Sonic architect Gautier Serre draws from the longstanding undercurrent of baroque and both twists it and lets it breathe, resulting in something liturgical, haunting, and organic. What Amen proves is that Igorrr remains one of the most unique and creative minds in both metal and electronic, while also refusing stagnation in continuous development and betterment.

Initially sole member Serre has been at this for twenty years, and the evolution of the sound from his early work with Whourkr and demos to now shows this range. The breakcore freakouts of Igorrr’s early albums Nostril and Hallelujah were pure sugar for the brain, the bizarre sounds and novelty the emphasis in their fusion of chaotic breakcore, trip-hop, baroque, death metal, and black metal. In this evolution, Amen feels like a meat-and-potatoes record, a gradual growth since the full band experience of 2017’s Savage Sinusoid that incorporates grandiosity, gravity, and insanity in ways only Igorrr can. The act recorded Amen with a full choir, spotlighting more well-rounded performances warped by otherworldly synths and abstract effects – reverberating with riffs at its core. It’s a reaffirmation of Serre’s genius/insanity and both a heaven of godly power and one hell of a good time.

For all its seriousness, Amen wouldn’t be an Igorrr record without some moments of absolute nonsense – and they’re dead center in the tracklist. While the instruments are immensely layered and it takes some serious ears and repeated listens to deconstruct the noise, some whacky moments swing in like a monkey in a pope hat to steal your banana split and rub its junk in your face. From the blackened blastbeats, classical choirs, and random piano plonks (“Headbutt”)1 fist fights of death metal, surf rock, and oriental music (“Blastbeat Falafel”), straight-up short-form grind (“2020”), some off-key recorders atop death metal takedowns and breakcore glitching (“Mustard Mucous”), and random electronic farts morphing into wonky rhythms, classical overlays, and full-body assaults (“ADHD”), Igorrr as a full-band unit is committed to the insanity. Vocalists J.B. Le Bail (formerly of Svart Crown) and Marthe Alexandre offer death/black metal range and operatic/mournful drama respectively, while guitarist Martyn Clément (also of HAH) and drummer Remi Serafino (formerly of Ecr.Linf) add a vicious metallic bite that expertly balances silliness, groove, and even reverence. The revolving door of contributors, veterans from Soulfly, Anthrax, and Mr. Bungle, are equally bought into the schtick, making Amen feel surprisingly cohesive.

While hinted at in Spirituality and Distortion and Hallelujah, the liturgical and religious elements of Amen add a darker and more serious tone to and alongside Igorrr’s trademark. These tracks are enhanced by robust and haunting choral arrangements, strings, Arabic microtonal scales, and sharp complex percussion, although central motifs help immensely in establishing what to expect. Riffy death metal beatdowns warped by electronic effects (“Daemoni,” “Mustard Mucous”), haunting lilting vocals atop plodding beats (“Limbo,” “Ancient Sun”), and unhinged vocal attacks (“Infestis,” “Pure Disproportionate Black and White Nihilism”) add darkness and liturgy to the band’s sound. Ascending to the heavens with epic choirs and hinting at mystery with its more enigmatic melodic templates, one certainly unique approach that Igorrr employs is letting the baroque and classical elements breathe rather than Serre being quick to warp them or distort them with effects (highlight “Silence”). This makes the album feel much more organic and significant – nearly a meditation.

Amen is Igorrr firing on all cylinders in its full-band capacity. Death metal vocals, operatic laments, choirs, strings, metallic riffs, and manic drumming fed through the machine of Serre’s electronics has never felt so cohesive in its interpretation of religious and baroque viciousness. Yes, the silliest songs are smack-dab in the middle of the album in quick succession (aside from “Headbutt”), which can feel like a distraction from the more serious bookends, and Igorrr’s music can be alienating at its core. However, Amen is a reaffirmation of the project’s batshit and fun-loving genius as well as a new step forward: haunting, brutal, and otherworldly in a way that we can take seriously.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Metal Blade Records
Websites: igorrr.bandcamp.com | igorrr.com | facebook.com/IgorrrBarrroque
Releases Worldwide: September 19th, 2025

#2025 #40 #Amen #Anthrax #AvantGarde #BlackMetal #Breakcore #DeathMetal #EcrLinf #Electronic #ElectronicMetal #FrenchMetal #HAH #Igorrr #MetalBladeRecords #MrBungle #Review #Reviews #Sep25 #Soulfly #SvartCrown #TripHop #Whourkr

Nuclear Dudes – Truth Paste Review

By Thus Spoke

Nuclear Dudes is one step closer to living up to their moniker as they are now officially more than one person.1 Joined by Brandon Nakamura (Doomsday 1999, ex-Teen Cthulu) on vocals, Sandrider’s Jon Weisnewski bounces back from the synthwave moment of Compression Crimes 1 to resume the usual trajectory of insanity. 2023’s Boss Blades—my personal introduction to this madness—was a disarmingly likeable collection of silly and serious sounds heavy and light. It was also surprisingly good. Though I’d partly forgotten this due to its brevity and my sieve-like brain, the band has such character, in name, in vibe, and artwork theme—that a commenter very sensibly pointed out is likely courtesy of Weisnewski’s small child and not his brother as I hilariously assumed—that I was instantly back in the room with Nuclear Dudes, ready for the next trip.

With a permanent2 vocalist alongside Weisnewski’s own contributions, Truth Paste is closer to powerviolence or grind than previous outings. But a vague resemblance to these genres is as close as it gets. The record is a breezy 23 minutes across 11 tracks (check one: very short runtimes), and there are more passages of outright beatdown, screaming, chaotic metallic insanity (check 2: silly heavy and intense). But it’s what’s going on within that runtime, and both during and between those especially heavy moments that matters. Nuclear Dudes don’t waste a second. Opening on a bizarre tribute to Guns ‘n Roses’ “Welcome to the Jungle”—which includes using that song’s literal intro as their own—the duo switch in a flash to an electro-grind(core), erratically accented by an array of eclectic sound effects, which is a recurrent style on the album. Approximately four and a half minutes in, it becomes clear that the preceding two tracks (“Napalm Life,” “Holiday Warfare”) functioned as a violent induction to themes that are to follow, as the title track ramps up to a pure hardcore breakdown to a woman crying “ohhhh myy gawwd it’s—”, and the ensuing chuggery forms the first ‘breather’ for the listener. That concludes the most normal segment on the record.

Truth Paste is weird, but it’s not incoherent. Despite the apparently revolving door of blooping, whirring keys and sound effects, and tempo changes that would give an F1 driver whiplash (“Napalm Life,” “Dirty 20,” “Death at Burning Man”), the whole thing flows remarkably well. Pretty much all songs transition seamlessly from the previous with overlapping samples, humming melodies, basslines, or keyboard something-or-other. Nuclear Dudes hit their peak at moments when the electronica-mixed-with-guitar transforms into synthwave by way of grind, making for ridiculously fun grooves (“Concussion Protocol,” “Space Juice,” “Pelvis Presley”) if not some very entertaining melodic excursions. Or perhaps the best parts are during those rapid-fire switches, where goofy meets brutal and jaw-smashing breakdowns are followed or preceded by floaty ethereality (“Truth Paste,” “Juggalos for Congress”).

As a novelty band that takes not taking itself seriously quite seriously, Nuclear Dudes are doing everything right. Track titles are dumb, the movie samples cheesy, and the harsh vox mix is a wry recollection of a bygone bedroom death/grind era. Nuclear Dudes own every last second of it, from the roboticised vocals (“Napalm Life,” “Concussion Protocol,” “Cyrus the Virus”) to the videogame battle sequence vibes of the keyboard gymnastics (“Dirty 20,” “Space Juice”). It’s almost annoying how un-annoying it is. And since you effectively experience it as one extended track, given those instant transitions, it becomes very easy to just vibe with it and not worry about which song you’re actually hearing at any moment, or whether what you just heard was genius or just silly. But in having superior flow to its predecessors, Truth Paste also possesses fewer true standout moments. There are no lows, it’s true, but there are also no epic peaks—no “Many Knifes,” for instance. Then again, this record is committing more strongly to the meth-head electro-grind genre than Boss Blades, and in that respect, kind of smashes it.

If you want to have a very entertaining 23 minutes and six seconds, Truth Paste should be your go-to. Nuclear Dudes has taken recruiting a vocalist, and evolving into their full hybrid mad-subgenre form in their stride, as they continue to half-sprint, half-dance ahead. This record is so tight, fun, and irritatingly self-aware that personal taste is practically irrelevant. I’m no longer going to express surprise that anything Nuclear Dudes creates will be fucking great.

Rating: Great
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Website: Bandcamp
Releases Worldwide: September 5th, 2025

#2025 #40 #DeathMetal #EDM #ElectronicMetal #ExperimentalMetal #Grind #Grindcore #NuclearDudes #Powerviolence #Review #Reviews #Sandrider #SelfReleases #Sep25 #Synthwave #TeenCthulhu #TruthPaste #USMetal