Rosa Faenskap – Ingenting Forblir Review By Kronos

Do you ever hear a punk song and think, “Sure, I’d also like to overthrow the establishment, but couldn’t you learn to play guitar a bit better?” Have you ever found yourself embarrassed to be banging your head to a sick black metal riff written and performed by one of the world’s most repugnant lowlifes? Yes. So have thousands of our brethren in every squat and co-op from Greece to Iceland; and as is their wont, they have taken matters into their own grubby hands, pressing a huge variety of records that radiate out from the collision of metal and hardcore in every hue and shade, from the bilious How Hate is Hard to Define to the cerulean Archivist. Rosa Faenskap, unsurprisingly, fit themselves into the long-wavelength end of that rainbow.

Practicing a particularly dark and frostbitten form of Euro-Lefty-Black-Hardcore, Rosa Faenskap find themselves between the vicious pallor of Thurm and the sanguine rage of Svalbard, on occasion reflecting a few fleeting tones from the early Plebeian Grandstand records. Emil Vestre grinds out icy tremolo leads as jagged as they come, crashing and crackling in coupled cacaphony with vocalist Håvard Solli’s snarling bass; in the pre-breakdown chug and pick-scrape of “Faenskap for alltid,” you’d swear you were standing six feet away from their amplifier in a damp Oslo basement. Drummer Anders Jansvik’s performance is likewise big and booming. Whatever the trio might lack, it’s not energy.

Ingenting Forblir by Rosa Faenskap

Though Rosa Faenskap are pretty green, this sophomore record is remarkably focused, holding its space through force and fury, hammering a few riffs as harshly as possible before their close. “Den Svake Mannen” rides a rung-out arpeggio so continuously that you can still hear it when Vestre switches over to tremolos, but I’m never disappointed to hear them return to it halfway through the song. “Faenskap for Alltid” pursues a more straightforward black metal at first, expertly executing a couple of stock tremolo metal riffs with a panache that I’m surprised to hear outside of a Spectral Wound record before the band shift from blackened to bruising, stomping through a breakdown and proclaiming “faenskap for alltid!” again and again.

Ingenting Forblir’s success stands in part on the band’s canny writing, but is far more indebted to its quality of sound. The record’s production and mix, handled by the band in collaboration with Oskar Johnsen Ryd and Torfinn Sommerfeldt Lysne, respects the vitality of the material, sounding live and livid. My only complaint is that Jansvik’s drums can get buried during busy sections, in part due to a muffled snare tone. Despite a low-DR master, the record is dynamic where it needs to be; when the band leave Vestre alone and pensive with their guitar, the quiet registers, and I feel myself slipping a bit closer in towards the record.

“Jeg Våkner Snart” closes Ingenting Forblir as the band’s most ambitious and successful song, layering tremolo leads over gang vocals, retreating into quiet, reverberating melody, and ending in a boiling conflagration of noise. For a sophomore record leaner and meaner than the band’s 2023 debut, it’s just the right ending. Ingenting Forblir hardly breaks new musical ground, but Rosa Faenskap’s sour determination will likely propel it into my regular listening rotation this year. In practice, I might not be up for faenskap for alltid, but I’ll happily recommend faenskap for lenge.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Fysisk Format
Websites: rosafaenskap.com | rosafaenskap.bandcamp.com
Releases Worldwide: March 6th, 2026

#2026 #35 #BlackMetal #BlackenedHardcore #FysiskFormat #Hardcore #Mar26 #NorwegianMetal #Review #Reviews #Svalbard #Thurm
No/Más – No Peace Review By Grin Reaper

DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No Peace by NO/MÁS

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Redefining Darkness Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 13th, 2026

#2026 #35 #AmericanMetal #DeathMetal #Deathgrind #Exhumed #FullOfHell #Grindcore #JungleRot #Mar26 #Nails #NapalmDeath #NoPeace #NoMas #NoMas #OxygenDestroyer #ProPain #RedefiningDarknessRecords #Review #Reviews #Sepultura
Harrowed – The Eternal Hunger Review By Owlswald

I’ve kicked off this year with a good old-fashioned death binge. My putrid immersion has taken me around the world so far: first to Chile, then across the Pacific to Australia, and now back across continents to Sweden. Next up is Stockholm-based duo Harrowed. Consisting of dual-threat drummer and vocalist Adam Lindmark (ex-Morbus Chron) and guitarist/bassist Tobias Alpadie (VAK and former live guitarist for Tribulation), the pair linked up through a past project to pay homage to the SweDeath sounds of olde. With only a demo and a split to their name, their debut album, The Eternal Hunger, unleashes Harrowed’s fetid disposition upon the world with a fresh edge, proving these Swedes are more than just HM-2 clones.

But rest easy—no HM-2 pedals were harmed in the making of The Eternal Hunger. Instead, Harrowed delivers enough primitive-drenched filth to satisfy any SweDeath devotee craving the crunch. Alpadie’s serrated tremolos and lacerating riffs cut like rotary blades, while Lindmark’s feverish blasts and tribal tom rolls drench highlights like “Blood Covenant” and “The Cold of A Thousand Snows” in a heavy layer of cavernous abrasion, tearing through the speakers with surgical precision. The Stockholm sound’s hardcore punk DNA is also front and center, as the duo rips through tracks like “Ultra Terrene Phantasmagoria,” “Bayonet,” and “The Reins” with high-octane skank beats and wailing dirges. Lindmark’s vocals are a caustic mix of barbaric regurgitations, adding formaldehyde-infused dressing on Harrowed’s cadaver sandwich. Tied together by a punchy production that preserves the weight of the muddy sound of yore while also maintaining a modern, nimble edge, every disgusting note on The Eternal Hunger lands with maximum impact.

The Eternal Hunger by Harrowed

The Eternal Hunger channels the spirit of ’90s-era Entombed, yet Harrowed also weaponizes influences from far beyond Swedish borders. The duo frequently abandons standard old-school formulas to explore a diverse palette of unbridled savagery. On “Blood Covenant,” Lindmark’s stampeding, guttural-punctuated rhythms and turbulent transitions coalesce with Alpadie’s blazing fretwork, leaning closer to classic thrash than typical SweDeath. Pivoting from there, “Ultra Terrene Phantasmagoria” and “The Cold of A Thousand Snows” embrace a blackened speed identity where icy tremolos, demented double-bass attacks, and progressive ride patterns imbue a sinister edge outside typical HM-2 purism. Harrowed also pulls from the American scene. “The Eternal Hunger” mirrors the swampy, gore-soaked roots of early Autopsy and Death, while the haunting, clean arpeggios driving the title track and “The Haunter” resurrect Slayer’s “Seasons in the Abyss.” Strategic moments of suspense, where the duo strips away the distorted crust in favor of suspenseful intros and bridges, only make the final blows feel more devastating as hammering half-time grooves (“Blood Covenant”) and esoteric patterns (“Formaldehyde Dreaming,” “The Reins”) work well to keep the listener off-balance.

While Harrowed’s varied songwriting is largely airtight, certain songs reveal minor cracks. “The Reins” suffers from a disjointed bridge that briefly stalls the track’s momentum, though Lindmark’s technical drumming and visceral vocal attack do well to anchor the chaos. There are also occasional moments when tracks feel like retreads, suggesting Harrowed may have hit the bottom of their bag of tricks. “Formaldehyde Dreaming,” for instance, relies on a riff set strikingly similar to those found in “Bayonet” and “The Cold of A Thousand Snows,” while the clean intro of “The Eternal Hunger” echoes “The Haunter.” Furthermore, the title track’s brooding build-up fails to deliver a proportional payoff, indicating the track would have benefited from more editing. Despite these slip-ups, however, The Eternal Hunger remains 36 minutes of grime-soaked efficiency that favors memorable songwriting over high-concept filler.

Harrowed successfully pays homage to the Swedish spirit without merely exhuming its grave. By channeling a wide-reaching spectrum of influences and pushing them through a modern SweDeath filter, they’ve created a record that is easy to like and refuses to grow stale. Much of The Eternal Hunger’s success stems from Harrowed’s balanced and varied songwriting, with Lindmark and Alpadie both pulling their weight equally to flex their creative muscle and produce material that sounds both familiar and surprisingly fresh. A debut with this much power is impressive, especially coming from only two people. If this is what the new wave of SweDeath sounds like, I’m on board—and you should be too.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/the-eternal-hunger | facebook.com/harroweddeathmetal
Releases Worldwide: February 27th, 2026

#2026 #35 #Autopsy #Death #DeathMetal #DyingVictimsProductions #Entombed #Feb26 #Harrowed #MorbusChron #Review #Reviews #Slayer #SwedishMetal #TheEternalHunger #VAK
Rozario – Northern Crusaders Review By Holdeneye

After removing my clothes, I wade into the promo sump. Yes, nakedness is advised for such a foray, as any loose material can get you ensnared by the bog’s filtration and disposal machinery or by the foul denizens that reside within the sludge. I enter herein with a single purpose in mind: to find a promo that will restore my credibility as a reviewer, if I ever had any to begin with. Since my return to the hall, I’ve written 3.5 after 3.5, and I am in search of something that will bring my average down before I am made to “non-suspiciously” disappear again. I reach down and grasp a promising prospect. Pieces of congealed n00b meat and 16-year-old promo remains fall from the cover, revealing a band name that sounds like some guy’s last name and a photo of several dudes in various tough-guy poses. I smile, allowing myself to hope that I’ve found what I’m looking for. Further investigation reveals Rozario’s Northern Crusaders to be a 50-minute-long heavy/power metal album, and I tell myself that this has 2.5 written all over it. Yep, this’ll do.

My confidence grows when I see that these Norwegians have picked the album’s first two songs as singles. “Fire and Ice” starts things off with some energetic power metal-infused heavy metal that brings Dream Evil immediately to mind. After a huge earworm chorus and some killer riffing and leads, the song winds down, and I’m horrified to realize that I’ve been involuntarily smiling and headbanging the whole time. Fear not, I say to myself. The next single can’t be as good. “We are One” takes the momentum of the opener and runs with it. I hear Brainstorm. I hear Dio. I hear more Dream Evil. I hear an even bigger chorus. Shit.

Not to worry! I’m sure they’ve simply stacked the singles at the front because they’re the best tunes. A qualitative drop-off is sure to come! Just as those foolish words finish leaving my mind-lips, “Down Low” slaps me across the face with a down-tuned chug that I didn’t see coming. This PED-enhanced version of Rozario, also seen on “Sleepless” and “Betrayed,” fits the Brainstorm mold alluded to above, and even ventures towards Mystic Prophecy levels of heaviness. “Crusader” and “Die Like Warriors” both see the band putting their Saxon pants on, their quality daring me to add them both to my “SWOARDS” playlist of battle-ready metal.

I finish Northern Crusaders for the first time and am surprised at just how fast the album’s 50 minutes flew by. I play it again. I like it even more. I am totally fucked. Sure, I can look across the album’s track list and pick out two songs that I don’t absolutely love (“Coming Home” and “The Warning”), but they’re still good songs whose place in the runtime almost totally mitigates any potential impact they could have had on the overall flow. I’m rather pissed that singer David Rosario puts in a journeyman performance with his weathered voice, and I’m even more upset that he’s filled his near-eponymous band with so much talent, particularly on guitar. The duo of Stein Hjertholm and Taran Lister has filled these tracks with muscular riffs, beautiful leads, and face-melting solos, and this is a huge reason that Northern Crusader feels so effortless and easily replayable. Even the production is fantastic. Gah! What a catastrophe!

It’s now been several weeks since I plucked this from the sump. As I put the finishing touches on the review and prepare to enter the final rating, I am suddenly aware of a presence in the room with me. I look up from my laptop screen to see 3.5 glaring at me with a sinister smile on its face. “You couldn’t live with your own failure,” it says. “Where did that bring you? Back to me.” I type the score, realizing it is futile to resist, fully aware that I’ve made the mistake of judging Rozario’s Northern Crusaders by its cover. I slam my computer screen down, stand up, and walk away, naked and full of shame.1

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy Music
Websites: rozarioofficial.com | facebook.com/rozarioband
Releases Worldwide: February 20th, 2026

#2026 #35 #Brainstorm #Dio #DreamEvil #Feb26 #HardRock #HeavyMetal #MysticProphecy #NorthernCrusaders #NorwegianMetal #PowerMetal #PrideJoyMusic #Review #Reviews #Rozario #Saxon
Nytt Land – Aba Khan Review By Spicie Forrest

I’d like to share my favorite fact about Nytt Land, the Siberian dark folk project from husband and wife, Anatoly and Natalia Pakhalenko.1 During my research for this review, I came across an old interview with Anatoly. He was discussing instrumental diversity on their then-upcoming release, ODAL. Of all the instruments Anatoly plays, the talharpa, an ancient Nordic bowed lyre, is his favorite. Do you know why it’s his favorite? BECAUSE HIS WIFE MADE IT FOR HIM. MADE IT. WITH HER OWN TWO HANDS.2 I can’t even imagine the incalculable value of such a gift. And I’m only half kidding when I say that fact alone makes Aba Khan—and anything else they release—worth a spin.

Nytt Land often releases albums strictly preserving the ancient traditions of their homeland, like 2025’s Songs of the Shaman, but Aba Khan follows a different path. Picking up the threads first woven on 2021’s Ritual and continued on 2023’s Torem, Aba Khan captures the energy of the shamanic rites of Nytt Land’s native Siberia. Nytt Land doesn’t perform any one specific rite on Aba Khan, but rather, Nytt Land channels their significance, their substance. As such, this isn’t a direct transcription or translation, but a respectful, contemporary interpretation that places listeners in the midst of ancestral proceedings. Produced with immersion in mind, the soundstage is dynamic and beautifully utilized. You can almost smell the clean air and feel the warmth of the bonfire as practitioners’ shifting vocals and well-placed instruments surround you, each given plenty of room to breathe and shine. To get the full effect, headphones are highly recommended here.

Aba Khan by Nytt Land

Production and mixing would mean little here, were it not for Nytt Land’s excellent performances. Natalia is the centerpiece, providing striking lead vocals and bringing to life the chanting, throat singing chorus of this ceremony (“Aba Khan,” “Taiga”). She and fellow drummer Aleksandr Rosliakov provide the raw, thunderous backbone for the album, stoking ritual fervor and reverence alike (“The Oath,” “Tygir Tayii (Heavenly Sacrifice)”).3 All other instruments are handled by Anatoly. Flutes, both bone and wood, alternate between heraldic (“Totem,” “Mansi”) and musical (“Taiga,” “Mansi”) duties, while strings—like the talharpa—guide Aba Khan through its eight movements. A high base quality means standout moments are few here, but the instrumental bridge of “Taiga,” which features mouth harp, flute, and talharpa all playing different melodies on top of a deep stringed foundation, is noteworthy, as is the absolutely massive, constant thrum of “Prayer.” It’s like listening to a god breathe.

According to the promo sheet, Aba Khan comprises a collection of shamanic vignettes, but it nevertheless possesses a loose narrative flow from one track to the next. This is largely driven by Natalia’s singing. Aba Khan is written entirely in indigenous Serbian languages and Old Norse, but Natalia defies the language barrier through measured swaying (“Taiga,” “Totem”), raw vulnerability (“The Oath,” “Prayer”) and ritualistic staccatos (“Tygir Tayii (Heavenly Sacrifice)”) to sketch the shape and purpose of each movement. I’m normally pretty unforgiving on intros, but “Aba Khan” serves more as an invocation or invitation before the ceremony begins in earnest with “Taiga.” Aside from mid-album snag “Uitag,” which dwells overlong in ambient repetition, Nytt Land moves with purpose through each movement. Aba Khan closes in a whirlwind, shifting from the tension of ceremonial action (“The Oath”) to that of anticipation (“Prayer”), before releasing it in spiraling celebration and catharsis (“Tygir Tayii”).

I don’t think anyone would argue the value of preservation efforts, but I might argue that Aba Khan does something even more important. Whether at a museum or on recordings like Songs of the Shaman, a clinical detachment separates us from feeling the gravity of these traditions as an insider would. Aba Khan annihilates that barrier. Using every tool at their disposal, Nytt Land communicates the emotions, atmosphere, and spirit of Siberia’s shamanic traditions through music, a universal language. This isn’t meant to be known in the mind. It’s meant to be felt in the heart. On Aba Khan, Nytt Land invites you to walk in their millennia-old shoes to a time and place where spirits rule, shamans protect the people, and old gods whisper.4

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: February 20th, 2026

#2026 #35 #AbaKhan #DarkFolk #Feb26 #Folk #NotMetal #NyttLand #ProphecyProductions #Review #Reviews #SiberianMusic

3.5% — A Small Number With Huge Implications

Kelley and I have recently returned from 10 days in London, one of the most genuinely multi-cultural cities I’ve spent time in. We had many deep and interesting conversations, one of which I’ll touch on further down. (And others I might discuss in more detail in a future post.) Most of those we spoke with—friends, family, colleagues, strangers, whether in politics, arts, sciences, religion, nonprofits and/or social justice organisations—are as distressed as we are about what is happening in this country and their own, and its implications for the rest of the world. Several of our conversations revolved around the findings about change and civil disobedience that I detail in this post—which I had just begun drafting before I left Seattle and so was top-of-mind.

The findings discussed below are the work of Erica Chenoweth and Maria Stephan.1

3.5% of a population can force real and lasting change

Nonviolent civil resistance, or unarmed civil struggle, can and does force real change in the behaviour of government, or, if the government cannot change, then its collapse. Stop and think about that a moment, please: not slight change, or meaningless promises but real change or the fall of government. According to Erica Chenoweth and Maria J. Stephan in their book, Why Civil Resistance Works: The Strategic Logic of Nonviolent Conflict (Columbia University Press, 2012), once around 3.5% of a nations’s population2 has begun active and sustained participation in nonviolent civil resistance, success becomes increasingly likely with time—to the point where in a country like the US we can go so far as to say inevitable.

Don’t take my word for it. Here’s the BBC talking about how this has worked internationally.

Nonviolent protests are twice as likely to succeed as armed conflicts – and those engaging a threshold of 3.5% of the population have never failed to bring about change.

In 1986, millions of Filipinos took to the streets of Manila in peaceful protest and prayer in the People Power movement. The Marcos regime folded on the fourth day.

In 2003, the people of Georgia ousted Eduard Shevardnadze through the bloodless Rose Revolution, in which protestors stormed the parliament building holding the flowers in their hands. While in 2019, the presidents of Sudan and Algeria both announced they would step aside after decades in office, thanks to peaceful campaigns of resistance.

— BBC

Here’s Chenoweth herself discussing her work. Watch it; it’s only 12 minutes. Pay attention. She speaks to 150 years of data; if you doubt the numbers I use here, go argue with her: she has the receipts. Moreover, though she was speaking 13 years ago, her central thesis is sharply relevant to us here in the US (and, as I discovered, the UK) today more than ever.

https://youtu.be/YJSehRlU34w

What this means for the US today

3.5%. A small percentage—but in terms of the US population, big absolute numbers. Per the U.S. Census Bureau, as of July 1, 2025 the population of the USA was 341,784,857. 3.5% would be 11,970,000. Essentially 12 million people.

If 12 million Americans engaged in nonviolent protest/civil disobedience, the current administration would either change significantly or collapse.

12 million. Are there 12 million Americans willing to commit to protest? I think there are. I think that since late 2016 an increasing number of ordinary people are becoming aware, unhappy, and organised. These organisations are many and varied. Some are very small and unconnected to anything else—blocks of houses where families have learnt to look out for neighbours during floods and wildfires, government shut-downs, or sudden DOGE-mandated layoffs. Other organisations at the congregation or neighbourhood or city level are loosely networked. Then there are nodes of specialised groups—food banks, whistle-makers, observers, trainers in nonviolent response—who are starting to coordinate. And then there are cities and states who are becoming rapidly radicalised because of governmental overreach, callousness, and murder: Minneapolis/St Paul and Minnesota; Los Angeles and California; Chicago and Illinois. 

Just as important, though often less reported, are the smaller communities in more rural areas where voters are as likely to be registered as Republicans or Independents as Democrats. See, for example, reporting on Wilder, Idaho, population 1,725, where 72% of the county it sits in voted for Trump in 2024: 400 citizens or legal residents, including children, were zip-tied and detained, 105 were held on immigration charges, and 75 were deported. You can risk a bet that in the mid-terms, that county voting percentage is going to look rather different. If you want more on smaller communities and their less-reported tribulations at the hands of immigration and border control agents, see, for example, this NYT article (gift link).

There’s no way to know for certain how many of us there are, but my guess is more, and very possibly a great many more, than 12 million.

But can those 12 million commit to the extent required—and what is the extent required? Can that commitment be sustained—and how long would that be? Can those 12 million coordinate—and to what extent should their actions be concentrated or decentralised?

I haven’t read the book, so I don’t know the finer details, but bearing in mind, always, that we are talking about nonviolent behaviour in support of a clearly articulated goal, two things I feel sure of:

  • In terms of mass protest, the more people that gather on the street—and are seen to gather—the more others will join. There is safety in numbers. (I’ve talked about this before.) In the bluntest of terms, the more ordinary Americans that participate, the greater the odds are of the enforcement agencies (ICE, FBI, National Guard, police) becoming unwilling to gas, shoot, or beat protestors: their kids, their parents, and their friends might be in the crowd. This, according to Chenoweth, is what has happened in other times and places.
  • Coordinated protests must happen in towns, small cities, and big cities, in communities both red and blue. More than one of those protests must, on the same day, be huge—record-breakingly huge.
  • The protests must show not only determination but commitment to kindness and building community rather than to hate and division. Hate does not help. (I’ll return to hate in a bit.)

What do I base all this on? Thinking about US movements for change during my lifetime, looking at the numbers, and considering the results both obvious and subtle.

Precedent in the US

All these numbers are available via a variety of sources. Wikipedia has an aggregation page with enough links to get you started. Please note that while some of these protests were met with violence, whether from over-zealous law enforcement or from hateful counter-protesters, the overwhelming majority remained steadfastly nonviolent in the face of provocation. Also, while it’s important to acknowledge the risk of violence, it’s equally important to remember that, according to Chenoweth’s data, the greater the percentage of a community’s population that’s marching, the less likely it is that local law enforcement or National Guard will be willing to use violent tactics against a crowd of those who may be their relatives, friends, or neighbours.  

In terms of single-day actions in the US in my lifetime, some examples:

  • Earth Day (1970): On April 22, more than 20 million Americans (10% of the population at the time) took part in teach-ins, clean-ups, and rallies in more than 10,000 towns and campuses. Huge, huge numbers, but a single-day decentralised event. It was not a protest; the focus was not on marching with the goal of regime change but on raising the environmental consciousness of those in power and agitating for legislative action. Earth Day led to the creation of the Environmental Protection Agency and absolutely raised the bar on environmental action in this country, an effect that lasted 55 years—until the actions of the current administration, which has effectively destroyed the Clean Air Act and other safeguards.
  • Women’s March (2017): On January 21, 3.3– 4.6 million Americans (1-1.3% of the population at the time), the majority of them women, marched in over 50 states as counter-programming to Trump’s inauguration. There were over 750,000 in Los Angeles and 500,000 in DC. Those huge numbers buoyed the participants; judging by anedotal accounts, I believe the Women’s March laid the foundations for much of today’s local organising, whether focused on neighbourhood-scale actions or forming wider networks.
  • No Kings (2025): On June 14, about 5 million Americans (1.4% of the population) marched in over 2,000 locations in protest and counter-programming of Trump’s Flag Day military parade. On October 18 there was another coordinated protest, this time estimated at between 5 – 7 million Americans (1.4 – 2.0% of the population). This may be the nation’s largest biggest single-day protest. But it was not concentrated in select cities—it consisted mainly of smaller gatherings in many locations. Even so, I believe it consolidated much of the networking and experience of the Women’s March and, again, strengthened the commitment to change and the ability to coordinate action.

In terms of more sustained protest:

  • George Floyd/Black Lives Matter (2020): Over the three months after George Floyd’s murder, polls3 suggest 15 – 26 million Americans (4.5 – 6% of the population) joined at least one racial justice demonstration, with the single-highest day turnout on June 6 of perhaps 500,000—though not all in one place. That lack of massive numbers in any single time and place, and (perhaps—I’m happy to be corrected on this) specific actionable demands may be why outcomes are less obvious. Nonetheless, I believe these protests and organised networks helped make the No Kings actions possible. I also believe it had an impact on more localised change—in terms of city and county police regulations and response.

Much more recently, the spate of ICE Out protests resulting largely from the killings in Minneapolis/St Paul of two US citizen observers, Renée Good and Alex Pretti, by Customs and Border Protection agents, are more difficult to quantify. For one, it’s difficult to find reliable numbers (though they seem to have been lower than most protesters hoped). And for another, while there seem to have been some results—the ICE presence in Minneapolis/St Paul and some other cities is being reduced; there will be an investigation into the death of Pretti but not Good—there is no commitment to agents removing masks or wearing ID, or obtaining judicial warrants before breaking into people’s homes and hauling them away with no due process. Democrats in the Senate have (temporarily, if past experience is any guide) found some spine—but at best these results are minor and, at worst, misleading.

What does all this mean?

That we have most of the groundwork already done: the conditions exist for a nation-changing protest. But. We need more, and bigger. With longer planning and very clear demands. Imagine beginning with a single-day nationwidGeneral Strike, school closings, and people on the street in huge numbers—more than 12 million, with, say, 1.5 million in DC, at least half a million in each of the ten largest cities, and tens or hundreds of thousands in smaller cities and towns across the country—followed by two weeks of massive and peaceful demonstrations and/or vigils and/or withdrawal of services or money. And/or perhaps more specific and regionally focused actions.

Is this possible? Yes. Many unions are ready. Many congregations of many creeds are ready. Many administrations at city, county, and state level are ready. Many local and regional law enforcement agencies are reevaluating their cooperation with federal enforcers. Community organisers are ready. There are more and more people out there who have recent experience of protest, demonstration, and vigil. They are connected, formally and informally. Ordinary Americans are more than ready; once we see it begin, we will join. There are easily 12 million of us.

Negativity bias—stats and stories

I promised to touch on those interesting conversations we had in London, and this is where it gets even more hopeful. To understand why let’s first consider something I’ve talked about often: negativity bias.4 People pay more attention to the negative than the positive. It’s an evolutionary trait: humans are prey animals; in survival terms it’s more cost-effective to focus on a sound that could be a predator than on a laugh. As a result we are more attuned to and tend to overweight the importance of the negative than the positive. We can look to the evidence of our own everyday experience; anyone with even a passing familiarity with social media understands that bad news spreads faster and further than good news. Negative disinformation moves even faster. Countless studies back this up: all over the world, ‘If it bleeds, it leads.’

This is important. I want you to understand and believe it: in the context of information and/or news (whether gossip, anecdata, mainstream media, social media, tabloids, podcasts, newsletters or government announcements), negativity bias can lead to a distorted perception of reality. This distortion can be extreme—normally reasonable people can have a seriously skewed understanding of the world around them. There are reams of data to back this up but rather than hammering at you with tables and statistics and links, let me tell you a story.

I used to teach women’s self-defence for a living; my students were women and girls (and a handful of men) of all ages, abilities, colours, creeds, and socio-economic backgrounds. Around the second session, when I started showing women how to apply the strikes I taught in the first session—how to seriously hurt their attacker—they baulked. Why? Because, they said, fighting back would just make it worse, make their would-be rapist (rape and sexual torture is what most women fear) angry and more like to hurt them. Everything they knew about the world told them that fighting back would do no good: all you had to do was read the newspaper, watch the news, listen to the radio to learn that (this was before the internet).

I would sit them down, and ask: What do you think the odds are of a woman fighting off a rapist? Someone might venture, Five percent? No, I’d say: if the attacker is unarmed, data show that 72% of the time if a woman fights back she will avoid rape; if she fights back against an attacker armed with a knife, her chances are 58%; against a gun, 51%. Even if a would-be rapist is armed with a gun and the woman he has targeted is unarmed, if she fights back the odds of her avoiding rape are greater than even. (The odds of her being less badly hurt are also better if she fights back than if she doesn’t.)

Those stats were from a 1985 study, Ask Any Woman: A London Inquiry into Rape and Sexual Assault, Ruth E. Hall (Bristol: Falling Wall Press, 1985). While writing Always (published 2007), I went to the Department of Justice website to check their statistics: the numbers held up. Looking at what info I can find now (and the internet has got so bad that it’s difficult to find clear answers) it seems that women’s odds have not got worse.

So why do women believe fighting back is useless? Because the media tells them so. Media, mainstream and social, reports completed rapes (the bloodier and more brutal the better) far more often than attempted rapes. While in real life women have an almost 3:1 chance of beating off a would-be rapist, the media publicises 13 completed rapes for every attempted but uncompleted rape. (Why? Because bad news garners clicks. Bad news sells ads.) When it comes to gender violence, media negativity bias is 39:1. That is a seriously skewed version of reality. That’s what we’re up against; that’s why it’s easy to read bad news and believe the world is irretrievably broken.

Saving the best for last

Right now there is a lot of bad news to notice. In the US we are hit daily with everything from the disassembly of public health and the cancellation of research programmes to federal agents executing citizens in the streets. In the UK we talked to people in positions of formal and informal responsibility at the national, community, or diocesan level who are worried by the signs of hatred visibly rising in their spheres of interest—racist graffiti, street violence, social media attacks. 

Again and again we brought up this notion of 3.5% and change. It excited everyone—it is exciting. But then one woman Kelley was talking to suddenly stopped and said (I’m paraphrasing a second-hand report) “Oh! All that hatred out there, that feels so overwhelming, like there’s nothing we can do because the whole world hates us… What if it’s only 3.5% who are full of hate, and not the whole world?”

When Kelley told me this later that night I said, Yes! And, oh, I wish I’d been part of that conversation! Because I would have pointed out that when you factor in the cognitive bias towards the negative, it’s probable that the level of real hatred, the kind of hatred that leads to burning synagogues, spitting on immigrants, attacking transfolk—or to marching in the street to counter-protest nonviolent marches for change, calling your representative to vote for dehumanising legislation against transgirls in sports, or directly funding hate groups—is not just small but tiny. Think about it. Think about the numbers of people who show up for anti-abortion vigils or White Power marches or transphobic campaigns; try to remember how many homophobes showed up at the last Pride event: minuscule, comparatively speaking. Insignificant when weighed against those of us who protest hatred and cruelty.

If it takes only 3.5% of a population to change the direction of a nation; if the hatred we feel is out there isn’t quite as widespread as we think; and if you factor in the negativity bias at a ratio of 39:1, well, even if the bias was wrong by an order of magnitude, it’s still a heartening answer. Change is possible. More possible than we might think.

I don’t know what will force the growing dissent against the current administration’s agenda into full flower but I have no doubt it’s coming. And when it does I have no doubt it will succeed. There are so very many more of us than them.

  • Many thanks to Mary Brandt whose Wellnessrounds.org post brought Chenoweth to my attention and helped crystallise what I’d been fumbling towards for a while. Those who want to follow the evolution of Chenoweth’s thinking might want to download this PDF. (Thanks Jennifer!) ↩︎
  • I’ll be using ‘population’ and ‘Americans’ interchangeably to refer to those who live in this country, whether they’re citizens or not. ↩︎
  • Lowest estimate from Pew, highest from Kaiser Family Foundation. These are self-reported numbers rather than estimates from photos and professional crowd counters. ↩︎
  • I usually talk about it in terms of Misery Lit, and the perception that High Art has to be depressing. ↩︎
  • #35 #change #ericaChenoweth #hatred #MariaStephan #mediaBias #negativityBias #nonviolentCivilResistance #protest
    Sylosis – The New Flesh Review By Lavender Larcenist

    Sylosis has been quietly plugging along in the background for years, a band that, in my anecdotal experience, many have heard of, but few listen to. When I go to shout about the greatness of albums like Monolith or Dormant Heart from the highest peaks, it seems to fall on deaf ears. No more, I say! Lead vocalist and guitarist Josh Middleton has led the band since Edge of the Earth. As the last remaining original member, he became the de facto songwriter and soul of a group that has seen many members over the years and near dissolution during Middleton’s time with Architects. After returning to Sylosis full-time, the band is on their third release in this latest era, The New Flesh. Marking the second album since Middleton purposefully set a new direction with A Sign of Things to Come. While the title references David Cronenberg’s Videodrome, is The New Flesh transformative for the band or a refinement?

    Dormant Heart was the closing chapter on a trio of unfuckwithable albums that deftly melded viscous thrash, modern core sensibilities, and instrumental tangents with guitar heroics rivaling the best bands out there. Post 2020 put the band on a new path, and The New Flesh offers a continuation and evolution of their previous record. For a band with so many past members, their latest shows zero signs of flagging. Clearly, Middleton’s direction has been a north star for the band, and nothing on The New Flesh will surprise longtime fans.

    The New Flesh by Sylosis

    Sylosis’s obsession with riffs remains intact, and The New Flesh is chock-full of them like every record before it. Middleton’s vocals are as powerful as ever, and his range remains impressive. The band seems almost always to avoid the worst parts of metalcore clean singing, and there is so much pathos in his delivery that you can hear the venom dripping from every word. “All Glory, No Valour” is a drumming tour de force for Ali Richardson, whose feats keep up with Middleton and Conor Marshall’s barreling riffs. It isn’t all roses, though, and Ben Thomas’s low end gets lost in the overly clean modern metal production. While there is enough there to give the riffs proper weight, the bass only occasionally shines and is rarely present without straining your ears.

    The New Flesh’s creative focus only occasionally falters, and any song that has one or two individual weak spots has twice as many head-banging turn-arounds. The slightly uninspired chorus of “Erased” is quickly forgotten amid the song’s infectious groove, chest-thumping ethos, and refrain of “Here’s your parting gift,” before it drops into delirious riffing and devastating pick-scraping. Album closer “Seeds In The River” features a bit of tired metaphor, but also has some of the best riffs on the record, and more than enough to keep listeners coming back. The only real blemish on The New Flesh is a tale as old as time, a misplaced ballad. While Sylosis has never shied from clean singing or big melodic swings, “Everywhere At Once” may be the band’s first true “ballad,” and it shows. It lacks the atmosphere of similar songs on past albums like Dormant Heart’s “Quiescent” or the soaring riffs and bombasticity of “Abandon” on Cycle of Suffering. It is entirely skippable, with generic musings about missing family when touring that feel trite compared to Sylosis’ usual lyrical targets and vitriolic delivery.

    Outside of those few stumbles, The New Flesh is nearly spotless. “Circle Of Swords” feels like a makeup track after dropping a ballad on the listener, giving some much-needed headbanging whiplash. “Beneath The Surface” kicks things off in wild fashion, “Lacerations” is a stadium melter, and “Spared From The Guillotine” is one of Sylosis’ most unhinged tracks in the last decade. Sans ballad, The New Flesh, is ten tracks of furious, solid, and infectious metal that feel essential in an era lacking in just good old-fashioned headbangers. The band finds a spot where the speed and technical sensibility of thrash meld with the belligerent energy of core and the hooky riffs of groove metal. For modern metal fans, Sylosis deserves a spot at the forefront. Where older acts like Lamb of God seem to have basically lost the creative energy that originally drove them, The New Flesh is here to offer up a no frills heavy metal record that leaves all pretense at the door after kicking it down. Sylosis has more than earned its seat among the modern metal greats, and The New Flesh only further cements that legacy.

    Rating: Very Good
    DR: 6 | Format Reviewed: 320 kbps mp3
    Label: Nuclear Blast
    Websites: www.sylosis-band.com | Bandcamp
    Releases Worldwide: February 20th, 2026

    #2026 #35 #Architects #BritishMetal #Feb2026 #HeavyMetal #LambOfGod #Metalcore #NuclearBlast #Review #Reviews #Sylosis #TheNewFlesh #ThrashMetal
    Teutonic Slaughter – Cheap Food Review By Andy-War-Hall

    Becoming a fully-fledged metalhead is when you stop associating German metal with Rammstein and start with Teutonic thrash.1 There’s something about Germany that just makes thrash metal meaner, dirtier, and nastier than anywhere else, and without Teutonic thrash, extreme metal would likely look very different from where it is today. Knowing and loving this heritage, Germany’s own Teutonic Slaughter throws their feather-capped hat into the ring with their third album, Cheap Food, brandishing both a ridiculous album cover and a conviction to maintain the glory of old school Teutonic thrash metal. But it can be a challenge staying firmly rooted in the past while sounding vital in the present. Can Teutonic Slaughter make the cut with Cheap Food, or will this record go down hard like dry currywurst?

    A lot of bands aren’t good judges of their own sound, but Teutonic Slaughter deliver what’s on the tin with Cheap Food: no-nonsense German thrash built to bash your bratwurst in forthwith. Teutonic Slaughter riffs without restraint or mercy, drawing from the melodic but near-death metal aggressiveness of Kreator (“Redistribution,” “Hostage”) as vocalist Phillip Krisch rasps and growls with the volatility of Sodom’s Angelripper and the band tears through tracks in reckless, Tankardesque good-times-lovin’ fashion (“Witches Rock ‘n’ Roll,” “Give em Hell”). Krisch and Jan Heinen’s guitars are hefty and lacerated on Cheap Food, bolstered by drummer Christian Vollmer’s thunderous kicks and an even heftier bass presence from Fabian Kellermann. The power chord rules on Cheap Food, but Teutonic Slaughter mix it up whenever necessary, like on the twisty leads of “Cheap Food,” the arpeggios kicking off “Redistribution” or the harmonics-laden chorus of “Witches Rock ‘n’ Roll.” Teutonic Slaughter promised nothing but good, archetypal German thrash and Cheap Food has that in spades.

    But more impressively, Cheap Food also delivers in hashing out good thrash to the masses by means of lean songwriting, blistering energy and vicious vocals. Though songs frequent the thrash iffy-zone of five-plus-minutes, Teutonic Slaughter serve riffs and ideas economically, letting nothing wear out and keeping energy squarely at eleven. Besides the back end of “Eviscerating Surgery” and the dead minute-and-a-half of “Intro,”2 Cheap Food is spry at 36 minutes and flies by in a head-banging haze. Teutonic Slaughter sound one volt from exploding on Cheap Food, baring teeth on “Redistribution” and “Fight the Reaper” with crossover levels of hardcore intensity reminiscent of Municipal Waste.3 Personally, I think it’s Krisch’s animal-like mic job that gives Cheap Food its meanest bite, lathering songs with deathly howls (“Eviscerating Surgery”), blackened roars (“Witches Rock ‘n’ Roll”), hardcore gang shouts (“Hostage”), and just some of the gnarliest barks and shouts this side of Sodom. Gnarly vocals on top of fatless, relentlessly aggressive songs is foam crowning Cheap Food’s beer stein, and brother, it’s flowing over.

    Teutonic Slaughter made a simply fun album. You’re not getting any radical surprises out of Cheap Food, and that’s by design. Instead, Teutonic Slaughter delight through expert performances of well-trodden thrash staples. Heinen provides the dive-happy, shredful soloing you expect and demand from the genre, leaving everything he has on closer “Give ’em Hell” in a no-holds-bar display of guitar belligerence. Thematically, when not dealing in societal or political issues (“Cheap Food,” “Redistribution”), Teutonic Slaughter revel in the schlocky macabre (“Witches Rock ‘n’ Roll,” “Eviscerating Surgery”) and fist-pumping motivation (“Fight the Reaper,” “Give em Hell”). It’s not meant to be complicated. Teutonic Slaughter aimed to pound your brain to spätzle with Cheap Food, and if you give it a spin, they’ll have succeeded handily.

    Worthy of their countrymates’ thrash legacies, Teutonic Slaughter produced an incredibly enjoyable album in Cheap Food. Riffing heavy, fast, and without stop, it’s a record that’s here for good times and for making good times. Perhaps it gets a bit played out by the end, repeating a short list of moves for half-an-hour, but Cheap Food proved to be a surprisingly compelling listen that only further endeared itself to me with every listen. Obviously, if you like thrash, I’m going to recommend you give Cheap Food a spin. If not, don’t let the door hit your lederhosen on the way out. Mahlzeit!

    

    Rating: Very Good
    DR: 6 | Format Reviewed: 320 kbps MP3
    Label: Iron Shield Records
    Websites: facebook.com/teutonicslaughter | teutonicslaughter.bigcartel.com
    Available Worldwide: January 30th, 2026

    #2026 #35 #BlindGuardian #CheapFood #GermanMetal #Helloween #IronShield #Jan26 #Kreator #MunicipalWaste #RammingSpeed #Rammstein #Review #Reviews #Sodom #Tankard #TeutonicSlaughter #ThrashMetal
    Leatherhead – Violent Horror Stories Review By Steel Druhm

    Steel is a sucker for a band trying their absolute best to bring back the bountiful glory of the 80s metal sound. Enter Greek retro fiends Leatherhead and their second full-length crusade, Violent Horror Stories. I happened to stumble upon their lead single “V.H.S” while scrolling on YouTube and mistook them for yet another thrash revival group, but I was mistaken. Though this is often speedy, high-energy stuff, it plays out more like a loving nod to the salad days of US power metal than any kind of beer and BO thrash-fest. Over the course of Violent Horror Stories, the listener can expect to be reminded of early Queensrÿche, Agent Steel, Crimson Glory, even John Arch-era Fates Warning, but you know, faster. In short, this was not the sweaty leather I expected to try on for size this week.

    Things open with the aforementioned “V.H.S.” which pays homage to all those “found footage” horror gems of the 90s and 00s while walking a fine line between an all-out thrash ethos and the over-the-top speed-power of Agent Steel. The guitar work is crisp, sharp, and reeks of early days Annihilator as frontman Tolis Mekras goes ALL in with his ample high-pitched vocal destruction. His enthusiasm and commitment to excess make the song all the more entertaining, especially as things speed up to the point where the band seems as if they’re losing control. After this jolt of high voltage, the pace dials back for the riffy and still quite zippy “Summoning the Dead,” before launching into the extra fun Agent Steel meets Savatage charge of “The Visitors,” which finds Tolis doing some Jon Oliva-esque oddball screams. This one is irresistible fun for one and all and I keep going back to it again and again.

    The album’s big centerpiece is the 7-minute mega-epic “Children of the Beast,” where all restraint is jettisoned in favor of MOAR. Moar large scale vocals, moar guitar solos, more unchained emotions, moar of every fucking thing. And you know what? I like it! It rocks that same regal coolness that early Queensrÿche and Crimson Glory exuded back in the day, and it’s even more of a spectacle than Holdeneye at an $8 all-you-can-eat BBQ stand after a 3-day juice cleanse. Tolis delivers the goods with an emotionally-charged performance, building peaks and valleys as the guitar work impresses with its scope and scale. The last 2 minutes are like a rocket ride to Valhalla with an overserved Thor fighting a much drunker frost giant in the backseat while you’re trying to navigate, and you know that’s a good time! Elsewhere, “Crimson Eyes” sounds like something Sumerlands could have included on their debut, and “Something Wicked (This Way Comes)” sounds a whole lot like it fell off Agent Steel’s debut Skeptics Apocalyse. With no dead space or filler, the skinny 37-plus minutes of Violent Horror Stories is a fast-paced, high-octane spin with little getting in the way of a good time unless you struggle with high-register vocal antics.1

    Tolis Mekras is the center of the Leatherhead experience, with his impressive, if not always completely controlled, vocals injecting themselves into your ears like an overpowered mining laser. He reminds me of Arthur W. Andersson of Trial at some points, and Alpha Tiger’s Stephan Dietrich at others, but the main point of reference has to be the ever-mysterious John Cyriis of Agent Steel. As with any vocalist of this ilk, he’ll be a love or hate factor, and he’s sure to alienate those who want everyone to sound tired and listless at the mic. Keeping up with Tolis, guitar tandem Thanos Metalios and Jim Komninos bring Olympian thunder down with a never-ending stream of 80s-centric speed, thrash, and classic metal riffs loaded with big hooks. There’s a lot of Jeff Water-esque noodling and speed-pluckery in the material, and it makes me wish Waters was able to write songs this entertaining after 1990.

    Violent Horror Stories sounds like a bunch of friends having an absolute blast making unhinged metal for the filthy masses. Leatherhead have chops and an ear for hooks, and you will be entertained by the glorious end product of their labors. This pairs well with bands like Ambush, so don the appropriate headgear, put this on blast, and start smashing your skull into the wall in the name of all things metal. You won’t be sorry, but you may be unconscious.

    

    Rating: 3.5/5.0
    DR: 7 | Format Reviewed: 320 kbps mp3
    Label: No Remorse
    Websites: leatherheadgr.bandcamp.com/album | facebook.com/leatherheadofficial | instagram.com/leatherhead_band
    Releases Worldwide: February 13th, 2026

    #2026 #35 #AgentSteel #AlphaTiger #CrimsonGlory #GreekMetal #HeavyMetal #Leatherhead #NoRemorseRecords #Review #Reviews #ThrashMetal #Trial #ViolentHorrorStories
    MØL – Dreamcrush Review By Killjoy

    One of the common complaints I see about blackgaze is that it tends to be toothless compared to its black metal forebear. This is part of the personal appeal to me, but, in any case, Denmark’s MØL has built a reputation for bucking that trend. They managed to impress even hardened metalheads like Mark Z., who found their 2018 debut, Jord, biting enough to shake him from his blackgaze apathy. Nuclear Blast Records scooped up MØL for the release of Diorama in 2021, which largely picked up where Jord left off. Now, after a fairly lengthy absence, we have Dreamcrush. Is MØL still interested in being one of the fiercest voices in the blackgaze genre?

    While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

    DREAMCRUSH by MØL

    These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

    There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

    MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL is still ethereal and heavy with skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

    Rating: 3.5/5.0
    DR: 6 | Format Reviewed: 320 kbps mp3
    Label: Nuclear Blast Records
    Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
    Releases Worldwide: January 30th, 2026

    #2026 #35 #AltRock #Alternative #BlackMetal #DanishMetal #Deafheaven #Dreamcrush #Jan26 #Møl #Noctambulist #NuclearBlastRecords #Review #Reviews #RoloTomassi #Shoegaze #SilversunPickups #TheSmashingPumpkins