#untoothers — Public Fediverse posts

https://www.europesays.com/at/154984/ Amorphis gehen auf „Borderland Tour 2027“ – mit coolen Vorbands #2027 #amorphis #AT #Austria #BORDERLAND #Entertainment #Insomnium #Music #Musik #Österreich #Tour #Tournee #Unterhaltung #UntoOthers

Freshly announced EU tours:
> #Amorphis + #Insomnium + #UntoOthers

> #AnyGivenDay + #GetTheShot + #SableHills

There’s a certain kind of music that sits at the crossroads of 70s rock, Goth, and classic heavy metal. Where once I would have dubbed it retro or throwback metal, since 2010, it’s been easier to tag it Ghost-core for obvious reasons. Canada’s Spell fall into that rotpit, with a sound that has come close to what that Swedish supernatural entity did on their early albums. I liked 2020s Opulent Decay, but felt it was missing a certain x-factor needed to take it to the next level of stickiness. For whatever reason, I slept on their 2022 release Tragic Magic, but I’m here for 5th full-length Wretched Heart. Mostly because the lead single “Lilac” has been stuck deep in my brainpan for the last 2 months, compelling me to grab the promo and get reacquainted with these occult-loving Canucks. Their style still floats between 70s rock and Goth metal, with hooks at a premium, and when they nail their template, you get super-catchy chestnuts of pure rock glory. So, how much nailing can you expect from Wretched Heart?

More than I expected, actually. Since the last time I spent time with Spell, they’ve become much more consistent songsmiths, and over the course of Wretched Heart, you get a fun, hard-charging collection of tunes with enough raw charm to make you believe in magic. Of course, there’s “Lilac” which punches way above its weight with an irrestible blend of Ghost and Unto Others. It’s easily my favorite song so far in 2026, and I’ve been walking around singing the flower-powered chorus constantly, much to the chagrin of Madam X, who thinks I’m turning into a morbid florist. Play this song twice, and it will move into your brain and raise 3 generations of earworms. “Take My Life” is another entertainer with an interestingly weird blend of Goth, hard rock, and edgy emo. The chorus sticks on first exposure, and Cam Mayhem’s vocals at chorus-time pack just the right amount of emo angst to sell things. “Unquiet Graves” is a winning little gem, loaded with an intriguing blend of Goth and punk that checks all the right boxes. You’re treated to a winning chorus again, and the mood recalls the best of early Ghost.

Elsewhere, you’re introduced to “Oubliette,” which carries a strong Dawnbringer vibe and sounds like Chris Black dropped by to do guest vocals. It dials up the darkness and heaviness and really zaps the mind. Another highlight is “Exquisite Corpse.” It’s like Idle Hands / Unto Others had a love child with H.I.M., and that shouldn’t be a good thing, but fuck it all, this song is awesome. The chorus is G-money, and though I suspect it’s about necrophilia, I don’t even care and won’t stop spinning it and singing it in public. No song on Wretched Heart is filler, though opener “Dark Inertia” doesn’t put the band’s best foot forward, and the short, funeral home-appropriate interlude “In Duress” seems tacked on for no good reason. Other than that, it’s an elevator ride to the penthouse with one killer cut after another. At a trim, tidy 41 minutes and with most songs in the 4-minute window, this is an easy-breezy spin, and the good songs are made even better because Spell never step on their own meat by dragging things out needlessly.

I was on the fence with Cam Mayhem’s vocals when last I reviewed them, but I’m sold now. He’s like a cross between Papa Emeritus I-V, Chris Black, and Gabriel Franco (Untoothers). His offbeat delivery suits the songs and provides an identity to what Spell are doing. Everyone in the band is credited with guitar work, and the guitars are a huge part of the Spell experience. They run through 70s prog, hard rock, Goth, and metal, borrowing acorns from each genre and assembling sounds to suit moods adroitly. Some of the stuff here is surprisingly dark and heavy without losing the rocked-out vibe, and that’s a nifty feat. There’s even a healthy bass presence that adds some oomph to the sound. The big ticket is the improved songcraft, which is, at times, nigh impossible to resist.

Wretched Heart is a sizeable step up from what I heard back on Opulent Decay, and it seems Spell have come into their own. With Ghost gone to mainstream success and sleepy radio rock antics and Unto Others dropping the tooth jar last time, Spell are here to fill the gaps in your metal listening needs. If you want semi-dark music loaded with earworms and a cheery, tongue-in-cheek vibe, and you can look past that dayglow abortion of a band photo,1 plant this in your topsoil. Pairs well with summer gardening and corpse defiling.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Bad Omen
Websites: spellofficial.bandcamp.com | facebook.com/spellspell | instagram.com/spellofficial
Releases Worldwide: May 1st, 2026

Unto Others en Chile: Cruzando el umbral de la noche | vía #iRock

https://www.irock.cl/unto-others-en-chile-cruzando-el-umbral-de-la-noche/?utm_source=rss&utm_medium=rss&utm_campaign=unto-others-en-chile-cruzando-el-umbral-de-la-noche

#concierto #livereviewinternacional #metal #rock #untoothers

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks by Hoaxed

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks by Hoaxed

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks by Hoaxed

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks by Hoaxed

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks by Hoaxed

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

Ooh look what turned up at The Ken Den. It's only the rather excellent Never, Neverland album by Unto Others on the compact disc medium. I bought it and so should YOU! 🤘😎🏴󠁧󠁢󠁳󠁣󠁴󠁿

#untoothers #gothmetal #thekenden

Ooh look what turned up at The Ken Den. It's only the rather excellent Never, Neverland album by Unto Others on the compact disc medium. I bought it and so should YOU! 🤘😎🏴󠁧󠁢󠁳󠁣󠁴󠁿

#untoothers #gothmetal #thekenden

Ooh look what turned up at The Ken Den. It's only the rather excellent Never, Neverland album by Unto Others on the compact disc medium. I bought it and so should YOU! 🤘😎🏴󠁧󠁢󠁳󠁣󠁴󠁿

#untoothers #gothmetal #thekenden

Ooh look what turned up at The Ken Den. It's only the rather excellent Never, Neverland album by Unto Others on the compact disc medium. I bought it and so should YOU! 🤘😎🏴󠁧󠁢󠁳󠁣󠁴󠁿

#untoothers #gothmetal #thekenden

An excellent cover! 🤘 😎

https://www.youtube.com/watch?v=cFb8aV8igwQ

#untoothers #metalmusic

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

Soulfly – Chama Review

By Grin Reaper

Max Cavalera casts one hell of a shadow in metal, with a wide swath of bands he’s either founded or played alongside. Though Cavalera’s mightiest legacy will be his time with Sepultura, he’s been with Soulfly over twice as long. In that time, Max and company have written and recorded thirteen albums. On latest offering Chama,1 the elder Cavalera relinquished producing credits and creative focus to his son and Soulfly’s drummer, Zyon, providing an opportunity for a fresh direction. Chama’s loose concept centers around a boy surviving in Brazil’s favelas.2 In the wake of his environment’s pandemonium, the boy ignites a spark for something greater, leading him into the Amazonian wilderness to kindle his inner spirit amongst the native tribes. Getting back to one’s roots is a theme explored throughout Max’s career, and one that has informed the band’s sound since the beginning. Does Chama find Soulfly going back to the primitive, or just going through the motions?

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.3 Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,4 and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

#2025 #30 #AmericanMetal #ArchEnemy #BrazilianMetal #Chama #DeathMetal #FearFactory #FleshHoarder #GrooveMetal #HeavyMetal #Ministry #Nails #NoWarning #NuclearBlast #NuclearBlastRecords #Oct25 #PhilipHAnselmoAndTheIllegals #Review #Reviews #Sepultura #Soulfly #ThrashMetal #UntoOthers

UNTO OTHERS (Estats Units) presenta nou EP: "I Believe in Halloween II" #UntoOthers #HeavyMetal #GothicRock #Octubre2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

#NowPlaying the recent EP "I believe in Halloween II" by the band #UntoOthers from the #USA

#HeavyMetal #GothicRock #AlbumsOf2025

Personal Rating: 5 / 10

Recommended Tracks: "They come from Space", "Robots"

Morgen will ich mal wieder in's #NewForce nach #Erlangen. Die Forcler haben einen Abend unter dem Motto „Screams from the Underground" quasi genau für mich vorbereitet. Als Musikwunschliste kann ich dann einfach meine Kutte hinter die DJ-Theke reichen 😁 — freu' mich drauf!

> „Wir widmen uns den Abend über jüngeren Vertretern des traditionellen Metal, d.h. wir spielen aus aus den Bereichen New Wave of Traditional Heavy Metal, Speed Metal, US Metal und Epic Doom der letzten Jahre.
Freut euch auf #Enforcer, #AtlanteanKodex, #UntoOthers, #Visigoth aber auch @mechanictyrants, #RiotCity, #NightDemon & Konsorten!“

Unto Others hitting England and Wales this June

Portland, Oregon's Unto Others have shared details of their upcoming UK and EU run, including six headline dates and two supporting King Diamond and Paradise Lost throughout the UK. Taking them through Nottingham, Southampton, Norwich, Swansea, Leeds, Birmingham, Manchester, and culminating at London's historic R

https://www.moshville.co.uk/news/tours/2025/04/unto-others-hitting-england-and-wales-this-june/

#ToursLiveDates #UntoOthers

Gig Review: Satan’s Satyrs / Unto Others / Green Lung – The Garage, Glasgow (20th February 2025)

On a crisp evening in Glasgow, the air was thick with anticipation as fans gathered for the much-awaited Heathen Neverland show, featuring the formidable acts of Unto Others and Green Lung. The

https://www.moshville.co.uk/reviews/gig-review/2025/02/gig-review-satans-satyrs-unto-others-green-lung-the-garage-glasgow-20th-february-2025/

#GigReviews #GreenLung #SatansSatyrs #UntoOthers

Alright folks, let's do this, it is:

✨ #TomsAOTY2024 TIME! ✨

Starting at number 10:

🔟 Unto Others - Never, Neverland 👏

Unto Others made my #AOTY2024 list very late and if it wouldn't have been for @SimoRavens19 who unintentionally reminded me of its existance, this one would have slipped my attention.

But it didn't. Like everything #UntoOthers formerly known as Idle Hands do, it is catchy AF.

The album is full of Sisters of Mercy, The Smiths, Paradise Lost and The Cure references, and, believe it or not, has some killer Slayer style riffs on it. Despite all the references, they are original and never copycats.

https://album.link/at/i/1755593688

1/n

#AOTY

Unto Others, they really know how to riff! 🤘

Thanks go out to @SimoRavens19 for putting them into my timeline! I already forgot that they released an album this year.

🎵 Fame by #UntoOthers
💿 Never, Neverland, 2024
▶️ https://song.link/y/WYNdhG3eSEU

#TomsMusic #NowPlaying

#TheMetalDogArticleList
#MetalInjection
The Weekly Injection: New Releases From NIGHTWISH, UNTO OTHERS & More Out This Week 9/20

https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-nightwish-unto-others-more-out-this-week-9-20

#Nightwish #UntoOthers #CoffinRot #Defiled #GlacialTomb #KubliKhanTX #CharlotteWessels

#TheMetalDogArticleList
#MetalSucks
Review: Unto Others Deepen Their Goth Metal Greatness with Never, Neverland

https://www.metalsucks.net/2024/09/19/review-unto-others-deepen-their-goth-metal-greatness-with-never-neverland/

#UntoOthers #NeverNeverland #GothMetal

#TheMetalDogArticleList
#MetalSucks
Review: Unto Others Deepen Their Goth Metal Greatness with Never, Neverland

https://www.metalsucks.net/2024/09/19/review-unto-others-deepen-their-goth-metal-greatness-with-never-neverland/

#UntoOthers #NeverNeverland #GothMetal

#TheMetalDogArticleList
#MetalSucks
Review: Unto Others Deepen Their Goth Metal Greatness with Never, Neverland

https://www.metalsucks.net/2024/09/19/review-unto-others-deepen-their-goth-metal-greatness-with-never-neverland/

#UntoOthers #NeverNeverland #GothMetal

#TheMetalDogArticleList
#MetalSucks
Review: Unto Others Deepen Their Goth Metal Greatness with Never, Neverland

https://www.metalsucks.net/2024/09/19/review-unto-others-deepen-their-goth-metal-greatness-with-never-neverland/

#UntoOthers #NeverNeverland #GothMetal

#TheMetalDogArticleList
#MetalSucks
Review: Unto Others Deepen Their Goth Metal Greatness with Never, Neverland

https://www.metalsucks.net/2024/09/19/review-unto-others-deepen-their-goth-metal-greatness-with-never-neverland/

#UntoOthers #NeverNeverland #GothMetal

#TheMetalDogArticleList
#Loudwire
The Five Best Goth Rock/Metal Albums Since 2010
Unto Others frontman Gabe Franco makes his picks!

https://loudwire.com/best-goth-rock-metal-albums-since-2010-unto-others/

#UntoOthers #GabeFranco #GothRock

#TheMetalDogArticleList
#MetalInjection
W.A.S.P. Drops UNTO OTHERS From Upcoming Tour, UNTO OTHERS Not Thrilled

https://metalinjection.net/news/w-a-s-p-drops-unto-others-from-upcoming-tour-unto-others-not-thrilled

#WASP #UntoOthers

Sebastian 'Spyder' Silva performing with #UntoOthers at #DynamoMetalfest 🤘

🔥Date: 18-8-24
Shot with: Sony A7III + Sony 28-70mm (f/3.5-5.6)
📷 by me #sethpicturesmusic #sethabrikoos #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha #fotograaf

Sebastian 'Spyder' Silva performing with #UntoOthers at #DynamoMetalfest 🤘

🔥Date: 18-8-24
Shot with: Sony A7III + Sony 28-70mm (f/3.5-5.6)
📷 by me #sethpicturesmusic #sethabrikoos #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha #fotograaf

Sebastian 'Spyder' Silva performing with #UntoOthers at #DynamoMetalfest 🤘

🔥Date: 18-8-24
Shot with: Sony A7III + Sony 28-70mm (f/3.5-5.6)
📷 by me #sethpicturesmusic #sethabrikoos #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha #fotograaf

Sebastian 'Spyder' Silva performing with #UntoOthers at #DynamoMetalfest 🤘

🔥Date: 18-8-24
Shot with: Sony A7III + Sony 28-70mm (f/3.5-5.6)
📷 by me #sethpicturesmusic #sethabrikoos #metalband #metalmusic #guitarist #concert #metalfestival #sonyalpha #fotograaf

#TheMetalDogArticleList
#BraveWords
UNTO OTHERS Release Single, Video “Momma Likes The Door Closed”

https://bravewords.com/news/unto-others-release-single-video-momma-likes-the-door-closed

#UntoOthers

Unto Others

01 August 2024
@
our local volunteer driven club #stengade30 in #copenhagen #nørrebro

#untoOthers

UNTO OTHERS announce 'Never, Neverland' album with new single "Angel of the Night" Watch it here
https://screen-one.net/unto-others-announce-never-neverland-album-with-new-single-angel-of-the-night/
#UntoOthers #music #metal #NeverNeverland #AngleoftheNight @UntoOtherspdx

UNTO OTHERS announce 'Never, Neverland' album with new single "Angel of the Night" Watch it here
https://screen-one.net/unto-others-announce-never-neverland-album-with-new-single-angel-of-the-night/
#UntoOthers #music #metal #NeverNeverland #AngleoftheNight @UntoOtherspdx

UNTO OTHERS announce 'Never, Neverland' album with new single "Angel of the Night" Watch it here
https://screen-one.net/unto-others-announce-never-neverland-album-with-new-single-angel-of-the-night/
#UntoOthers #music #metal #NeverNeverland #AngleoftheNight @UntoOtherspdx

UNTO OTHERS announce 'Never, Neverland' album with new single "Angel of the Night" Watch it here
https://screen-one.net/unto-others-announce-never-neverland-album-with-new-single-angel-of-the-night/
#UntoOthers #music #metal #NeverNeverland #AngleoftheNight @UntoOtherspdx

UNTO OTHERS announce 'Never, Neverland' album with new single "Angel of the Night" Watch it here
https://screen-one.net/unto-others-announce-never-neverland-album-with-new-single-angel-of-the-night/
#UntoOthers #music #metal #NeverNeverland #AngleoftheNight @UntoOtherspdx

#TheMetalDogArticleList
#MetalInjection
UNTO OTHERS Streams "Angel Of The Night", Announces 16-Song New Album
As gothy as ever.

https://metalinjection.net/new-music/unto-others-streams-angel-of-the-night-announces-16-song-new-album

#UntoOthers #NeverNeverland #AngelOfTheNight

#TheMetalDogArticleList
#MetalInjection
UNTO OTHERS Streams "Angel Of The Night", Announces 16-Song New Album
As gothy as ever.

https://metalinjection.net/new-music/unto-others-streams-angel-of-the-night-announces-16-song-new-album

#UntoOthers #NeverNeverland #AngelOfTheNight

#TheMetalDogArticleList
#MetalInjection
UNTO OTHERS Streams "Angel Of The Night", Announces 16-Song New Album
As gothy as ever.

https://metalinjection.net/new-music/unto-others-streams-angel-of-the-night-announces-16-song-new-album

#UntoOthers #NeverNeverland #AngelOfTheNight

#TheMetalDogArticleList
#MetalInjection
UNTO OTHERS Streams "Angel Of The Night", Announces 16-Song New Album
As gothy as ever.

https://metalinjection.net/new-music/unto-others-streams-angel-of-the-night-announces-16-song-new-album

#UntoOthers #NeverNeverland #AngelOfTheNight

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UNTO OTHERS Streams "Angel Of The Night", Announces 16-Song New Album
As gothy as ever.

https://metalinjection.net/new-music/unto-others-streams-angel-of-the-night-announces-16-song-new-album

#UntoOthers #NeverNeverland #AngelOfTheNight