#skeletonwitch — Public Fediverse posts

I have one for the #TuneTuesday theme of #MisheardLyrics. At around 1:30 in Skeletonwitch's 'Longing for Domination', it sounds like he says 'let me be your parking savior'. No idea what Chance is really saying there. But it cracks me up every time 😂

https://youtu.be/RPYUg73UdiA

#metal #DeathMetal #thrash #BlackMetal #Skeletonwitch #BlackenedThrash #BlackenedDeath #Ohio #OhioMetal #OhioBands

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

UK antifascist blackened death/thrash trio Tyrannus caught my attention with the be-castled cover art for their upcoming sophomore record, Mournhold. Having never listened to them prior, I gravitated towards the promise of yet another robust hybrid of styles and sounds. With bands like Antiverse and Skeletonwitch to call on as points of comparison, Tyrannus all but guarantee my appreciation. This is the kind of genre-blending that I crave on an hourly basis. Does Mournhold have the goods to satisfy my voracious needs?

Lead single “Reignfall” demonstrates that Tyrannus aren’t fucking around, boasting an adrenaline-fueled cataclysm of riffs, shreds, pummels, and roars. It is an ideal case study for what Mournhold captures, ensaring the icy raze of black, the fiery vitriol of thrash, and the swaggering aggression of death in one fell swoop. Separated from those superficial attributes, it embodies the Platonic ideal of a great metal track. And so, Tyrannus publish their infernal formula, and Mournhold’s multifaceted application of that formula brews excitement and fun at every turn. Tightly packed into 40 minutes, seven tracks tear through a blunderbuss of cool ideas, hooky motifs, and fun deviations from the expected.

Most surprising of these diversions is center cut “Flesh Eternal,” which recalls the gothic swing of Tribulation if they took the ashen path to black/thrash. A really cool song on its own, “Flesh Eternal” more importantly cements Tyrannus as versatile songwriters and shrewd album composers. It resolves the aggressive black metal scorch of the first three songs—the best of which (“Orbus Non Suffict,” “Seizing Stars”) fulfill the gap left by Skeletonwitch after Serpents Unleashed. At the same time, it sets up the second act, beautifully bisecting Mournhold’s story with something a little more rock-oriented as a palette cleanser. That brief reprieve allows me to properly prepare myself for “Reignfall.” A barnburner of devilish nature, “Reignfall” Hellrips my face clean off with speed-metal riffs, righteous dive-bomb solos, and downright ignorant grooves charred by black metal rasps. A second twist that I hoped for but dared not expect, Mournhold’s back half transitions to altogether darker and moodier spaces than the front. “Slower” and longer form compositions (“Mournhold,” “Back to Grey”) reside in those spaces, creating an expanded stage for Tyrannus’ final ideas to land and settle.

This arrangement allows listeners to bask in more instrumental noodling and melodic storytelling as Mournhold comes to a close, but the risk of drag creeps in. “Mournhold” is certainly thrashy and aggressive enough in its second half to offset that inertia, but at six-and-a-half minutes, it rubs against bloat with a cocky smirk. Closer “Back to Grey” toys that line even more salaciously, teasing attention spans to their limit at nearly eight minutes. Luckily, its classic heavy metal gallop and olde-timey meloblack charm make it hard to hate. Like many tight runtimes, though, 40 minutes suffers more noticeably when any one song overstays its welcome; Mournhold’s final couplet gently cross that threshold. Cutting a minute from each—perhaps fewer repetitions of a riff here, and trimming an intro or bridge there—would make them stronger and thus improve the whole in kind.

Mournhold doesn’t need much improving, though, to be an unqualified success. It’s a rip-roaring fun time, with a youthful personality as exuberant as it is infectious. Tyrannus improved in every aspect on the promise of their debut, refining their voice into something highly recognizable and alluring. If this is just the beginning for Tyrannus, I tremble to think of what they might accomplish on future records. That’s a later Ken problem. For now, I’m content and gunning to storm castles and slay eldritch monsters for an eternity with Mournhold. Join me!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: True Cult Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

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

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

Kenstrosity’s Jaunty Juke

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

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

Baguette’s Bouncy Blessing

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

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

Thus Spoke’s Lurid Leftovers

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

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

Spicie Forrest’s Sautéed Surplus

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

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

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

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

ClarkKent’s Melodic Monstrosities

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

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

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

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

Grin Reaper’s Woodland Windfall

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

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

Dolphin Whisperer’s Very Not Late Novella

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

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

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

A few years back, wifey and I did a project together, as we often do. We wanted to do a very specific mashup - death metal and Pokémon. It's admittedly a niche. But we wanted to choose Cubone because that's the name of our furry son (the one in my avi). And the Pokémon's back story, wearing his dead mom's skull, it's pretty metal. Original shirt inspiration on the right, for reference (I have a very worn copy of this one). I sketched it out, she painted (she's so talented-- the REAL talent between us). She of course added her excellent flair to it. Acrylic on canvas.

#metal #DeathMetal #Pokémon #art #Cubone #AcrylicPainting #painting #ThrashMetal #BlackenedThrash #MetalArt #AcrylicArt #mashup #mashups #MastoArt #Skeletonwitch @brian @HailsandAles

Ordeals – Third Rail Prayer Review

By Spicie Forrest

Sometimes called the live rail, the third rail runs alongside the New York City Subway tracks, carrying electrical current enough to power the trains’ motors—or kill those who accidentally touch it. In a political context, the term refers to subjects dangerous enough to ruin careers. I learned this while researching Ordeals’ debut album, Third Rail Prayer. This NYC trio formed in 2011 and released two EPs and a split in the 14 years since.1 Influenced by the Australian scene, Ordeals promises a serpentine, subterranean blend of black and death metal, garnished with quiet grandiosity. Will Third Rail Prayer jumpstart their burgeoning career, or are they dead on arrival?

What Ordeals lacks in recognition, they offset with strong musicianship. Blackened riffs, courtesy of bassist/guitarist Illuminated, roil and surge like a sturgeon just beneath the surface, constantly shifting and reappearing through tempo shifts and key changes (“Throes”). Tremolo-heavy passages like those on “Suffer Cursed Ordeals” invoke Abominator and instill a sense of urgency and desperation. The bass most often acts as foil for the guitar, adding depth and texture to each track, but there are moments, like the back half of Skeletonwitched “Emerge,” where it takes center stage. Drummer Bellum loves a good blast beat, but he has a wealth of percussive techniques at his disposal. His kitwork is dynamic and energetic, and he drives the album with a varied and masterful hand. Bellum sets the tone (“Scorn Ceremony”), guides transitions (“Third Rail Prayer,” “Suffer Cursed Ordeals”), and keeps the album moving at an enjoyable and engaging pace.

A sectarian, ritualistic energy pervades Third Rail Prayer. Rather than high-pitched rasps, Zealous Hellspell mostly employs full-throated roars and shouts like Uada or Rotting Christ, evoking clandestine religious ceremonies or the recitation of some dark magic (“Triumph,” “Suffer Cursed Ordeals”). Though Ordeals bills themselves as blackened death, my ears hear a fair—and quite competent—share of doom, as “Throes” and “Triumph” build delightfully unsettling tension with stately Candlemass-esque riffcraft. The patient bass and inexorable drums of “Scorn Ceremony” paint a picture of evil sacraments and recall the backwater cult vibes of Choir. Ordeals releases that tension to great effect, too. In conjunction with Hellspell’s fanatical roars, Illuminated and Bellum often end songs by whipping each other into a spiraling dionysian fervor reminiscent of Kvaen’s “The Funeral Pyre” (“Third Rail Prayer,” “Throes,” “Emerge”). Contrary to my expectations, crafting this ceremonial, almost liturgical atmosphere is where Ordeals truly excels.

The atmospheric, doom-laden high points of Third Rail Prayer make for an ironic prime criticism. When Ordeals channels Solitude Aeternus or Solstice, their measured, dignified songcraft and palpable atmosphere far outstrip anything else on the album. Make no mistake, Third Rail Prayer is an enjoyable ride front to back, but Ordeals’ blacker, deathier portions feel lackluster by comparison. While Zealous Hellspell’s rapturous howling helps stretch that atavistic spirit over the whole album, the same can’t be said of Illuminated and Bellum’s contributions. When Ordeals’ focus shifts from doom to another subgenre, I’m left impatiently waiting for their focus to shift back. The synergy and flow in those Sabbathian passages is so comprehensive, it’s ultimately frustrating that there’s not more of it here.

Third Rail Prayer employs a kitchen sink approach, showing off a little bit of everything the band can do. Ordeals plays good black metal and good death metal, but they play great high (blackened) doom. On Third Rail Prayer, Ordeals treats their best characteristic as just another tool in their belt. This debut serves as a 40-minute proof of concept, albeit an unfocused one.2 If they can hone in on their strengths—stately, doomy songcraft and palpably ceremonious atmosphere—and use them as a solid foundation moving forward, they’ll create something great in a sea of good. Ordeals is not a band to be slept on, and I have high expectations for them in the future.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Labels: Eternal Death
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#2025 #30 #Abominator #AmericanMetal #BlackMetal #BlackSabbath #BlackenedDeathMetal #Candlemass #Choir #Daethorn #DeathMetal #DoomMetal #EternalDeath #Kvaen #Ordeals #Review #Reviews #RottingChrist #Sep25 #Skeletonwitch #SolitudeAeternus #Solstice #ThirdRailPrayer #Uada

Vindicator – Whispers of Death Review

By Steel Druhm

New thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.1 We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.

Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.

Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.2 “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.

Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.

Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: No Life ’til Metal
Websites: vindicator.bandcamp.com | facebook.com/vindicatormetal | instagram.com/vindicatormetal
Releases Worldwide: August 22nd, 2025

#2025 #30 #AmericanMetal #Aug25 #CommunalDecay #DemolitionHammer #Havok #NoLifeTilMetalRecords #Review #Reviews #Skeletonwitch #ThrashMetal #UnitedWeFall #Vindicator #WhispersOfDeath

Happy Metalhead.club birthday to me. 🎂🎂

From late 2022, I started experimenting with different servers on the Fediverse. After eight months, I realised I was spending the most time around Metalhead.club conversations and enjoying them the most. So I signed up two years ago today.

Thank you for the overwhelmingly positive online experience, friendship and - of course - fantastic music.

For my FediBirthday, have some Skeletonwitch, one of the early bands I discovered here. 🦴🧙‍♀️

https://skeletonwitch.bandcamp.com/album/serpents-unleashed

#MetalheadClub #birthday #Skeletonwitch

Emails had an extra spring in their step this afternoon.

Serpents Unleashed from Skeletonwitch

https://skeletonwitch.bandcamp.com/album/serpents-unleashed

#Skeletonwitch #BlackMetal #Thrashmetal #metal

#TheMetalDogArticleList
#MetalInjection
10 Metal Bands That Need To Reunite
Come home, Skeletonwitch.

https://metalinjection.net/lists/10-metal-bands-that-need-to-reunite

#Skeletonwitch #Sybreed #Isis #TheSword #TheBerzerker #EarlyGraves #Kylesa #IKilledThePromQueen #InSolitude #3InchesOfBlood

This week's #ThursdayFiveList is #TheInsect. I love bugs, although I never boost em (aside from maybe butterflies?) because I know people have phobias about em. So here's some rad songs about em instead.

The Briefs - C'mon Squash Me Like a Bug
https://inv.tux.pizza/watch?v=yuKKyPxowTY

Stone Temple Pilots - Vasoline
https://inv.tux.pizza/watch?v=s19ZyLZYCYI

Ashtray Babyhead - Bug
https://inv.tux.pizza/watch?v=LqUE1yHZ3_8

Skeletonwitch - Repulsive Salvation
https://inv.tux.pizza/watch?v=Gu0bzTuGwq4

Demilich - And the Slimy Flying Creatures Reproduce in Your Brains
https://inv.tux.pizza/watch?v=9H3jtlLSK8Q

#punk #metal #DeathMetal #PunkRock #TheBriefs #StoneTemplePilots #AshtrayBabyhead #Skeletonwitch #Demilich

#NowPlaying #TheMetalDogIsNowPlaying
#Skeletonwitch
Serpents Unleashed
Born of the Light That Does Not Shine

YouTube Search:
https://youtube.com/results?search_query=Skeletonwitch+Serpents+Unleashed+Born+of+the+Light+That+Does+Not+Shine

Songwhip:
https://songwhip.com/Skeletonwitch/Born-of-the-Light-That-Does-Not-Shine

Lyrics:
https://genius.com/Skeletonwitch-born-of-the-light-that-does-not-shine-lyrics

LastFM:
https://www.last.fm/music/Skeletonwitch/_/Born+of+the+Light+That+Does+Not+Shine

#american #Ohio #mtv #blackenedthrashmetal #Megadeth