Every year has been shitty for a while, and in some ways, 2025 was the shittiest of them all. The widespread sense that the End Is Nigh is what I would charitably call our zeitgeist.1 And I feel comfortable saying, it’s a shitty zeitgeist. But in defiance of the shit burger we’re all eating every day while we wait for the AI drone war to start, 2025 was my best year in a while. It did, in fact, see me more involved on the front and back ends of AngryMetalGuy.com than I’d been in a long time. And like those lists we’ve already published, AMG, both as a persona and community, has been a refuge for me during difficult times. The joy of discovery and the eclecticism inherent in what we do here have been a major part of why I love this blog. So, honestly, that’s been nice.

In terms of the blog’s health, AngryMetalGuy.com is holding steady. We’ve got a growing team of n00bs covering some of the holes we’ve had in the schedule.2 I worked very hard on training them in combination with Druhm, and it’s fair to say we were both happy with the result. We had some of our best candidates to date, and that made me proud and happy. There’s still room for a few more, so we might dig into the pool in the early part of 2026. So if you applied, all hope is not lost. We continue to attract around 1.25 million views a month, and that’s held steady for three years running. Obviously, we would like to continue to grow. But I have a sneaking suspicion that we’re actually seeing a slight downturn in visitors because of Generative AI. There are, of course, a lot of people who go to Google and write “My Favorite Band – New Album Review,” and they will be greeted by an AngryMetalGuy.com link that tends to place pretty highly on the Google Machine and awaits their complaints with open arms. But I suspect there are other kinds of views we’ve accrued – those which end up in people grabbing album art or looking for release dates – that disappear when people are requesting that ChatGPT do that for them. And while LLMs will link you after plagiarizing you, they’ll only do it if you let them, and we do not. And so any conversions of people checking linked resources are probably lost.3 There have been some weird months here and there with seemingly anomalously low numbers, so who even knows.

The active n00bs have allowed us to revive the three-posts-a-day pace,4 and we only went dark for five days during 2025. As a collective, we posted 699 posts—down from the very peak of 2019’s nearly 1,000 posts!—but in line with where we’ve been since Covid. And, our posts continue to be longer than they were in 2019, averaging 901 words for a total of 629,905 words that we produced for free in 2025. That’s a 2600-page term paper—Times New Roman, 12 point font, double-spaced on A4 paper.5 This dedication to quantity derives from the whip of an analytics-driven Steel Druhm, but wouldn’t be possible without our amazing staff putting their shoulders to the Eternal Boulder ov Metal™ and rolling it uphill every day, saying “One must imagine Sisyphus happy. One must imagine Sisyphus happy. One must imagine Sisyphus happy.”

We continue to have international appeal, as well, though the country rankings haven’t changed much from 2024. Like last year, our top five is made up of the English-speaking world (US, UK, CAN, AUS at five) + Germany (at four).6 Weirdly, we are getting a sizable amount of traffic from China, which clocks in at six for the first time. There are almost certainly shenanigans at play with those numbers, as I am not aware of any influx of Chinese fans here recently. Maybe that’s AI traffic. Maybe that’s VPN traffic. Maybe we’ve been infiltrated and are now a communist honey pot. Maybe Druhm is buying traffic. Or, maybe, Winnie the Pooh has finally discovered how excellent the realm of heavy metal really is, and China is going through a different kind of cultural revolution! Regardless, 7-10 is made up of the Netherlands, Sweden, Poland, and France, with Spain and Finland dropping out of the top ten. The biggest news, however, when it comes to our international readership, is that signs point strongly to Pope Francis having been our solitary reader in the Holy See. The venerable Franciscan passed away in April of 2025, and I don’t believe it’s a coincidence that no one appears to have made the pilgrimage from the Vatican to Angry Metal Guy this year.

It’s worth noting that we lost more than a few stalwarts along the way in 2025,7 largely due to the #Cursed-Boomer-Posting chat on Slack, which has torn us apart. There may also have been some other influences, such as marriages, having high-paying jobs, running TV shows, having actual lives, or resenting me.8 Regardless, for all those who have worked hard to make AngryMetalGuy.com go, but who are not here with us anymore, I just want to say thank you. Despite my autistic isolation and standoffishness, I do love you all and miss you. The door is, of course, always open. And I am happy to see some special little guys who’ve been in deep freeze popping their heads out of the sand and grabbing promo. It’s a wonderful sight to behold, and maybe we’ll see some newfound productivity from old friends in 2026.

To close, I want to thank everyone – readers and writers alike – for your enthusiasm, your dedication to AngryMetalGuy.com as an institution, and your undying fealty to me, Angry Metal Guy.9 I know I can come off as harsh. And I know that some people grumble that I’m too hard on them when I read their texts or when they have divergent opinions in the comments, but that’s only true if you’ve never met a passive construction you didn’t love or if you’re wrong about metal. And, as I tell my students, we’re a team. Our goal is to make sure that AMG produces the very highest quality writing, while covering as much of the scene as possible.10 And given the loyalty of our readers, your comments, and “the eye test,” as it were, we are achieving that goal consistently. I’m still very proud of that and, if I stop to think about it, humbled by it, too.

While it feels like there’s a lot to dread after the 2025 that was, we still have a lot to be excited about here. So let’s hope that 2026 isn’t all like it’s felt in the first five days or so. Anyway, I have gone on far too long, have a wordy, overwrought list.

#(ish) 3: Helms Deep // Chasing the Dragon [June 20th, 2025 | Nameless Grave Records | Bandcamp] — Chasing the Dragon is super fun. It’s fun, it’s loud, and it’s a little stupid in a way that I find endearing. And, as I remarked in June, while US Power Metal has been getting a lot of love around these parts, Helms Deep has not been on the receiving end of nearly enough of that love. While other bands showed up to a back alley knife fight, these Florida men showed up with a bejet-packed dragon and a collection of songs that burned hotter than dragonsfire, melting the competition down and shaming their lineages for decades to come. And joking hyperbole aside, Helms Deep doesn’t feel like a novelty act. They aren’t just good ’cause I find them funny. Chasing the Dragon features playing that’s sharp and vital across the board, with guitars that never stand still, a singer who sells every chorus with the right balance of chops, cheese, and buckets of swagger. Said differently, Helms Deep is just dudes playing good, honest heavy metal while having a great time. What more do you need?

#(ish) 2: Vittra // Intense Indifference [September 19th, 2025 | Self-release | Bandcamp] — Vittra’s Intense Indifference shows up hungry, plays fast, hits hard, and gets out before you have time to get bored. Thirty-three minutes of riff-first, bethrashened melodeath go by in a blur; the hooks are sticky, the harmonies are sharp, and the energy is manic and adventurous. While the At the Gates lineage is obvious,11 Vittra pulls in enough Soilwork polish and Mors Principium Est flash to songwriting that’s focused on momentum rather than atmosphere, and the result is addictive. And what really pushes this record from really good to great are the flashes of the unexpected: honkytonk piano, bluesy acoustic passages, and classic rock phrasing that shouldn’t work, but does. It’s great listening to an album this full of piss and vinegar. I get excited when bands pop up that make the kind of thrashy, intense melodic death that never begs for an Insomnium comp. And sure, these guys have room to grow, but Intense Indifference caused me to feel anything but.

#(ish) 1: Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 | InsideOut Music | Bandcamp] — Arjen Lucassen has been a favorite of mine during the time that AngryMetalGuy.com has been up and running. The “poofy-haired cheesehead”12 behind many of my favorite albums during AMG’s time is still a gem even in 2025. Crazily, Arjen’s first ‘solo record’ Lost in the New Real was released in 2012,13 and Songs No One Will Hear is its direct successor. A true concept record—with Toehider’s god-tier singer, Michael Mills, voicing a radio DJ talking to listeners about impending doom—it reflects both our End Is Nigh Zeitgeist and Arjen’s particular… idiom. Thoroughly enjoyable from start to finish, Songs No One Will Hear is both tongue-in-cheek and yet deeply aware of the nature of information, grifting, and societal collapse, while still displaying the kind of referential goofiness that made Lost in the New Real such a charming record.14 The thing that dinged Songs No One Will Hear a little for me is the sense of uncanny familiarity. At times, it sounds like Arjen was working specifically to emulate the structure of Lost in the New Real. That created a bit of cognitive dissonance that I have never quite gotten over. It also drove a lot of replays of its under-the-radar predecessor rather than the album I should have been reviewing. But is Songs one of the best 11 records o’ 2025? I certainly think so.

#10: An Abstract Illusion // The Sleeping City [October 17th, 2025 | Willowtip | Bandcamp] — The Sleeping City had two strikes against it. First, it had the unenviable task of following Woe, a record that could easily have been the template on which they built their sound. It’s hard to break away from an overwhelmingly popular sound, yet these Ore Islanders took a left turn, exhibiting a level of daring I admire. The shift in aesthetic is the story of The Sleeping City in a lot of ways; the synths, the vibe, and the mood lean into dystopian sci-fi, and it’s a choice that works. What I love about The Sleeping City is that it’s detailed and detail-oriented without distracting from the expansiveness of the songwriting, which remains evocative and carefully structured. And while they sound comfortable letting songs breathe, they never get lost in the quest for “atmosphere” that undermines many modern releases. Second,15 the real gripe about The Sleeping City was the mastering job. But even a mastering job that clips peaks and fills valleys shows just how strong the raw material is. And so, finally, The Sleeping City feels like the product of a band choosing growth over safety while being true to themselves. And that’s an admirable trait that I hope they never lose.

#9: Fallujah // Xenotaph [June 13th, 2025 | Nuclear Blast Records | Bandcamp] — Fallujah landing on my list came as a genuine surprise to me, mostly because I really had quietly written them off. I used to like them, but they never carried that In Flames-style of eternal hope for me. Xenotaph pulled me back in by doing a deceptively simple thing: reintroducing attack. Everything about this record feels more immediate; guitars cut, compositions move with purpose, and songs are taut and sharp. The atmospheric elements remain, but they’re now integrated into something heavier and more immediate. I love the balance Fallujah finds, combining that late-Cynic energy with the aggression of brutal and technical death. And the deeper I got, the more Xenotaph rewarded me. Repetition revealed interlinked ideas and layered guitar work that shoots like a web throughout, creating a sinuous structure on which everything rests. As I wrote in my Record o’ the Month blurb, “Fallujah has achieved a conceptual evolution on Xenotaph that feels true to their origins and yet develops their sound in ways that make it accessible, and yet, truly unique.” It isn’t exactly br00tal death metal, but it’s not so drenched in “atmosphere” that it lacks tension. Most importantly, it worked.

#8: Scardust // Souls [July 18th, 2025 | Frontiers Records | Stream or Buy at Qobuz] — Scardust landing at number eight sans review is another casualty of my 2025 Stack o’ Shame, though this was less neglect than simple overextension in a year where too many heavy hitters landed at once. July, yo, what a month. Unfortunately, I missed the review window, then I missed the window to pawn it off responsibly, and by the time I circled back, it was late. However, Scardust’s third full-length is a sharp, confident 42 minutes of symphonic power/prog that feels fully aware and unique. While it doesn’t quite lock together as tightly as Strangers did at a conceptual and compositional level, Souls more than compensates for that with sheer craft. The orchestral and choral arrangements are some of the strongest I heard all year, and Scardust’s chemistry is ridonkulous. The rhythm section especially deserves accolades, with basswork that should be forcing its way into “best of” conversations. As a band, Scardust exists in the interstices of genre, where comparisons kind of work but can’t capture their unique voice. And while the band is impressive, the compositions feel so coherent because of Noa Gruman, who carries the album with control, range, and an incomparable soprano. Her extreme register (that is, growls) stays mostly holstered here, but her presence—and sheer talent—is on constant display, balancing different styles, moods, and feels. And her vocal performance isn’t the only standout vocal performance on Souls. The closing “Touch of Life” trilogy finds Ross Jennings (Haken) popping up in full “weird Ross” mode, which ends up as the cherry on top. The result is smart, muscular, and memorable; an album I’m ashamed to have missed.

#7: Aephanemer // Utopie [October 31st, 2025 | Napalm Records | Bandcamp] — Aephanemer’s Utopie landed, as I mentioned in my Record o’ the Month blurb, squarely at the top of my Stack o’ Shame. I was honored to be able to get access to this and start listening early, and I was immediately impressed. Yet, I got sick. Darkness took me, and I strayed out of thought and time, and stars wheeled overhead, and every day was as long as the life age of the earth. Meanwhile, Utopie sat there reminding me of my failures until Grin Reaper saved my ass and gave Aephanemer’s newest opus the unhinged tongue bath it so rightfully deserved. Utopie takes everything these French melodic death metallers have been doing over the past couple of albums and tightens the screws until the whole machine purrs with confidence. The neoclassical elements have become a perfect blend that helps everything work perfectly. Utopie flows; songs connect, ideas develop, momentum carries everything forward, and yet Aephanemer does not sacrifice the immediacy and energy that makes melodic death metal such a fine dopamine mine. While I haven’t sat down and learned the parts, I feel like the guitars are more fluid and more expressive, resulting in special melodies propelled by a buoyancy reflected in the theme. And you know me, what I want from great records is a holistic sense of greatness. Happily, Aephanemer accomplishes just that on Utopie. Had I been operating at full capacity when it dropped, I would have written a review that kids would call “extra.”16

#6: Insania // The Great Apocalypse [June 13th, 2025 | Frontiers Music | Stream or Buy on Qobuz] — The Great Apocalypse, contrary to its name, is sneaky. It doesn’t gallop in and smack you in the face with shock or novelty, but instead, it reveals its strength through confidence, craft, and an almost unfair level of replay value. What initially feels like—and has been so often written off as—a solid, familiar Europower record gradually opens up to be something richer and more rewarding. And it’s kept paying dividends the longer I’ve been sitting with it. Insania sounds, as I noted when I wrote the review, like a band fully aware of their lineage and completely at ease with it. But the truly confident understand themselves enough to think differently. The resulting record is full of massive, sticky hooks, choruses that hit with power metal optimism and momentum, and electrifying guitars throughout. In fact, while investigating their discography, I was struck by how much Insania upped their game on The Great Apocalypse. And key to that is the guitar, which elevates the record by resisting predictability and yet coexisting on a meta-level with the genre that they know so well. Songs evolve instead of looping, melodies get reshaped rather than repeated, and familiar ideas or tropes are nudged just enough off-center to stay engaging but familiar. The Great Apocalypse approaches with intention, and Insania performs like a band that’s rediscovering why they love playing this kind of music in the first place. This record is exhilarating, memorable, and deeply satisfying, which is why it belongs among these other great releases.

#5: Kalaveraztekah // Nikan Axkan [May 2nd, 2025 | Self-release | Bandcamp] — In what I’m pretty sure is a first for me, an Ünsïgnëd Bänd Rödëö contestant has made my Top Ten(ish) list. I’ve had plenty of unsigned bands on my lists, but I walked into Kalaveraztekah’s masterful Nikan Axkan utterly unprepared for what I would find. Like a kid buying music in the ’90s, I just looked at that amazing cover art and decided that I was going to join the team reviewing this record instead of the other one. And that twist of fate has earned Mexico’s finest Aztec-themed death metal band a spot on the End o’ Year Metal List o’ Record™.17 As I cleverly wrote in my Record o’ the Month blurb: “There’s no sense that these Hidrocálidos are some kind of novelty act. They aren’t a Mexican Eluveitie, just playing Dark Tranquillity riffs while putting a Ritual Death Flute over it for 40 seconds in every song.”18 Rather, Nikan Axkan is chock full of muscular riffing and the kind of grindy death metal that I’ve always associated with the Mexican scene. Combined with a high-concept connecting to Mexican pre-history and the judicious use of a fucking death flute, I just never quit listening to Nikan Axkan.19 And so here they are, in the Top 5 of my Top 10(ish) of 2025,20 and it couldn’t be more deserved.

#4: Impureza // Alcázares [July 11th, 2025 | Season of Mist | Bandcamp] — I admit, I have tried to lead by example. I have attempted to become a servant leader. Rather than eating up a ton of oxygen and making everything actually about me (instead of just in jest) and what I want as Angry Metal Guy, I have, with time and wisdom, tried to allow others a chance to spread their wings. One of the things that means is that I can’t just bogart other writers’ “discoveries,” and I try not to block them if they grab something before I do.21 So, in that context, you’ll understand that I got pretty excited when I realized that I could review the newest Impureza without poaching it. The band’s approach to metal—infused with flamenco and semi-fantastical alternate-historical high concepts about colonial history—had entranced me previously, but I always felt like they were leaving a lot on the table. Their sound had not quite blended the flamenco and the metal, but rather, the genres sat side by side. Alcázares changes that. From start to finish, Alcázares is addictive, creative, musically impressive, and just a lot of fun. The artful ability of these Orléanais-via-España to marry such disparate styles with genuinely unique approaches to music that run as deeply as the very notion of meter is one of the most impressive feats accomplished in metal in 2025. But it’s not just a meta-concern of the artistic feat that excites me. Alcázares is a fucking banger that can stimulate your intellect, or that can leave your neck sore. Take your pick!22

#3: Phantom Spell // Heather & Hearth [July 18th, 2025 | Cruz del Sur Music | Bandcamp] — Phantom Spell has the benefit of being a genuine surprise. My happy place, when I can afford to be there, is digging through the promo bin and listening to everything I can get my hands on. I have made so many fantastic discoveries there, just immersed in my own little world, listening to samples to get a feel of what we’re being sent. Heather & Hearth looked like classic Steel Druhmcore: Cruz del Sur Records, retro metal, D&D Basic Set art. I popped it in, got dragged in, and totally distracted from the rest of what I was doing. I know that this might seem incongruent, but Heather & Hearth sounds fresh. In a world of hypercompressed, hyper-reamped, extremer-than-thou metal, the act of writing good songs with tons of vocal harmonies, instruments that sit in their sonic corridors, and—despite being recorded by one single dude—a convincingly live vibe feels “like a radical act.”23 I quickly grew to love Heather & Hearth, shared it with all the normies I know who love Ghost (“Isn’t this so much better?”), and began singing its praises. And I’ve been happy to see it popping up on lists throughout list season. It means a lot to me that people can hear just how good Phantom Spell is. And Phantom Spell also proved to be quite generative, in that I wrote the Spotify post as a response to a discussion about why Heather & Hearth wasn’t available there. Easily one of the best records I heard in 2025, and I’m looking forward to hearing so much more.

#2: In Mourning // The Immortal [August 29th, 2025 | Supreme Chaos Records | Bandcamp] — When a record is truly exceptional, the hardest part is often articulating why it has transcended other things without reducing it to a checklist. In Mourning’s fantastic The Immortal resists that kind of accounting in the best possible way. Its melodies are lush and emotionally evocative, capable of landing with equal force whether they’re carried by aching vocals or unfurled through long, expansive, yet intimate, trem-picked guitar passages. The riffing is punishing but disciplined, balancing weighty chug with sharper, blackened melodies, creating a constant tension between death metal heft and sadboi atmosphere without fully committing to drowning the production in reverb. And yet, none of this marks a radical departure from what In Mourning has done before—has been doing since 2008. The crucial difference here is in execution: every compositional choice seems to land exactly where it should be. In a sense, this calls attention to the role of probability, as much as inspiration or songcraft, in composition. Some records feel blessed from the outset, where one can go through the same process again and never produce the same results. The hooks here stick without feeling forced, climaxes are perfectly placed, and the pacing across the record gives each track room to breathe while contributing to the kind of flow reserved for only the best albums. Even moments that might feel familiar hit differently on The Immortal, like everything snaps into place. The Immortal succeeds, then, not just on craft but on feel: it feels heavier, sadder, and more resonant than its predecessors; and it stands comfortably among the strongest melodic death metal releases in years.

#1: Calva Louise // Edge of the Abyss [July 11th, 2025 | Mascot Records | Bandcamp] — Edge of the Abyss ran away with my listening this year in a way I genuinely don’t remember happening before, and that probably tells you most of what you need to know. The record is frantic, restless, and overloaded with ideas, moving between genres and feels with the speed of fast-cut editing; shifting at the drop of a dime. That both makes the record fun to listen to and keeps it surprising and fresh even after dozens of listens. The pace and density line up uncannily well with where my own brain tends to live, and I suspect that’s a part of why it lodged itself so firmly in my rotation. Calva Louise writes songs that feel driven by impulse and curiosity rather than caution or genre boundaries, and that creative energy and freedom are contagious. Jess Allanic’s pop instincts and melodic sense anchor the chaos, lending the lighter passages real emotional weight and memorability, rather than merely serving as connective tissue. Edge of the Abyss’s incorporation of Latin rhythmic elements and melodic sensibilities ended up also being a personal bonus; Latin music has been a refuge for me from musical monotony for years, and hearing them integrated naturally into Edge of the Abyss was exciting, and it generated affection for this wayward Venezuelan and her French and English bandmates. What really sealed the deal for me, though, was how committed the band sounds to its vision. The songwriting is ambitious and fun, but it doesn’t feel scattered. The album has a cinematic feel – complemented by literally cinematic music videos – but doesn’t feel bloated or melodramatic. And Calva Louise sports a swagger unique to bands who are just doing exactly what they want to be doing. Since July, I’ve kept coming back to Edge of the Abyss and forgetting I had even enjoyed other records this year. There’s a real sense of becoming here; of a band pulling its influences together into something that feels unique. And I also feel invested in Calva Louise in a way I haven’t been with many bands. I really am so happy to see them growing and succeeding. I love seeing them landing on people’s lists here and elsewhere. They have so much potential, and I am so eager to see what they do next. But should the worst befall them, I’ll always have Edge of the Abyss, and it already feels like an all-timer.

Honorable Mentions

Sarastus // Agony Eternal [July 1st, 2025 | Dominance of Darkness Records | Bandcamp] — Stolen from me by one Kenstrosity, Sarastus was a joyous discovery by me in the depths of the promo bin. One part black metal with a touch of death n’ roll for vibes, Agony Eternal strikes hard at modern conventions of black metal and sounds fresh by playing fast, unapologetic, engaging music with razor-sharp riffs. Melodic, without being sickly sweet or cheesy, with a ton of attack and great songwriting chops, Sarastus really threads the needle on Agony Eternal, making something that is driven and addictive, but undeniably black metal.

Wytch Hazel // V: Lamentations [July 4th, 2025 | Bad Omen | Bandcamp] — I’ve been back and forth with Wytch Hazel in the past. I have enjoyed what they do, but in the past I’ve been more skeptical of specifically nostalgiacore records that don’t feel like they’re adding much “new.” First, I think I’m just getting past that problem, as the “new” in metal is emphasizing things I don’t love about the scene. But second, I think V: Lamentations is just a more engaging record. From the word ‘go,’ Wytch Hazel writes with a kind of urgency that gives their brand of ’70s-tinged metal an extra kick, and the energy sits so well with me. Maybe the songwriting is just a bit tighter, maybe it’s faster, I don’t know—I didn’t write the proper review. All I know is that I keep circling back to Lamentations in a way that I haven’t done as much with their earlier albums. And that made it easy to put in the running for Listurnalia and to give my personal Angry Stamp o’ Approval™.

Mors Principium Est // Darkness Invisible [September 26th, 2025 | Perception/Reigning Phoenix Music | Stream or Buy on Qobuz] — Probably the grower of the year, Darkness Invisible surprised me by sticking around. When I started reviewing it, I expected not to like it much. I had been a big fan of the band’s previous output and of their former guitarist’s solo record from last year. But with familiarity—and time spent dissecting it—I became increasingly impressed with the album. While the production is busy and pulls it down, the writing forges a new path that better represents the vision of MPE’s founding member, Ville Viljanen. And that vision is bleak, blackened, and surprisingly sticky. No matter your opinion on the end of the previous incarnation, Darkness Invisible at least demonstrates that there is still a vital future for Finland’s most underrated melodic death metal powerhouse. And that’s a future to which I look forward.

Blackbraid // Blackbraid III [August 8th, 2025 | Self-release | Bandcamp] — I have a Gollumesque distaste for modern black metal. I am physically incapable of starting a review or blurb of a black metal band without reminding readers how much I hate “atmosphere” in the post-Cascadian black metal era. “Give it to us raw and wriggling!” I growl at all the fat hobbitses who try to feed me empty, overcooked “atmosphere.” Blackbraid doesn’t want to feed me atmosphere. Instead, Blackbraid’s III trembles with a vibe that brings me back to discovering black metal; at times blistering, at times introspective, but rarely overstaying its welcome and never feeling like its primary goal is to be the band that defanged black metal for good to make it okay to listen to for kids in the suburbs. I’ll be listening to III for a long time.

Tómarúm // Beyond Obsidian Euphoria — This record is too long. It’s got too much hype among the staff. And also, it’s too damned good to be an honorable mention. And yet, there are only so many #(ish)es, and I got to Beyond Obsidian Eurphoria too late to really give it the kind of sustained love that it needs to properly list. Still, once I started listening, I’ve been swinging past it every day. Sometimes twice. The songwriting is a bit wandering, the album is a bit overwhelming, and yet there is an undeniable vibe that Tómarúm traffics in, and that’s sneakily sticky. Combine that techy Death with something akin to Disillusion, and maybe you’ve got your comp. The only complaint I have is that some of the melodies end up intentionally arch in a way that makes me think that they are actively trying not to give the ear something to latch onto. That’s dumb, but it’s also very 2025. And hey, at least there’s a really easy trick for them to sell out with.

…and Oceans // The Regeneration Itinerary [May 23rd, 2025 | Season of Mist | Bandcamp] —The Regeneration Itinerary was a lot more controversial among fans than I expected, but I really enjoyed it. As I wrote in May, “It’s always fun to watch bands defy Angry Metal Guy’s Law of Diminishing Recordings™, and while The Regeneration Itinerary isn’t their best record yet, 30 years after their debut, …and Oceans is still releasing vital music that’s impossible to overlook.” And that’s just true facts as stated by a metal-knower. While not quite the tour de force of its predecessors, this record is a solid bit of weirdo black metal with some of the best art in the biz. I recommend it highly.

Haxprocess24 // Beyond What Eyes Can See [July 25th, 2025 | Transcending Obscurity Records | Bandcamp] — Four songs, three of which are over 10 minutes long, and a combo of what I’d call post-Opeth songwriting with OSDM aesthetics, Beyond What Eyes Can See deserved more attention this year and ended up, instead, on my Stack o’ Shame™. This isn’t a reflection on them; they play vital death metal and deserve accolades for their expansive vision and the way everything flows. They just got eaten up by the July where everything got released. Sorry, boys, but here’s your fig leaf!

Majestica // Power Train [February 7th, 2025 | Nuclear Blast Records | Stream or Buy at Qobuz] — Back in like 2008, I saw a band called ReinXeed play a whole bunch of covers of Swedish dance/electronica “group” E-Type at a Culture Night in Umeå. I remember hearing from people in the local scene that they were “big in Japan,” and I listened to some stuff, but wasn’t super moved by it at the time. In 2019, ReinXeed changed their name to Majestica and got signed to Nuclear Blast. And damnit if they aren’t just a lot better than they were in 2008. Power Train, which is on our collective Stack o’ Shame™, is the band’s third full-length under the moniker, and it rocks the same kind of sickly sweet melodies, guitar gymnastics, and general sense of fun that makes power metal my go-to genre a lot of days. While not quite as sticky and addictive as some other things higher up the list, Power Train was a solid addition to the band’s discography and one of the better power records I heard this year. You’ve come a long way, baby!

Dormant Ordeal // Tooth and Nail [April 18th, 2025 | Willowtip Records | Bandcamp] — While not as high on this record as others on the staff, Dormant Ordeal is undeniably vital. And I’m just never going to write a better blurb than I did when they got Record o’ the Month for April: “This record hits a sweet spot inside of me, best described as the ‘oh yeah, that’s how death metal is done’ spot. The riffs flow, and my brain just opens up the spigots, releasing a veritable tsunami of dopamine. Every riff that cuts, every transition that seethes, and every recognition of the slick, skilled ways that these guys construct songs, I get a nice big kick of that Happy Chemical. Tooth and Nail is dynamic, punishing, aggressive, and better yet, it’s smart.” Man, that guy can write!

Aversed // Erasure of Color [March 25th, 2025 | M-Theory Audio | Bandcamp] — Last, and I guess technically least – but that isn’t taking into account that there were like 10,000 albums released in 2025 and there are only like 25 on this list – is Aversed’s Erasure of Color. Part of the reason for its late arrival is that, despite being our Record o’ the Month for March, Erasure of Color didn’t actually make it onto my personal playlist until quite a bit later. And damn, that was kind of a big miss on my part. Great melodeath with a unique flavor and great intensity; there’s something thoughtful and sharp about this record. Combine that with excellent album art and the Dolphin Whisperer seal of approval, and Erasure of Color has everything fans of melodeath need to carry them through this wasteland. I will need to keep my eyes on Aversed going forward.

Sentynel

It’s been a couple of years since I had to start my AotY thoughts with “oof, what a year,” but oof, what a year. One thing after another piled up for months on end. I had some early success, actually writing reviews, but that left me almost no time to consume any other new music. A slowly escalating personal crisis then led to my neither writing nor consuming any new music for months. I began to fear that I genuinely wouldn’t be able to listen to enough to assemble a list—or that the server would implode at an inopportune time and I’d struggle to fix it. Fortunately, I was able to stay on top of server wobbles, despite the best efforts of endless AI scraper bots.1 A couple of months ago, I started managing new music again, and thus, a list emerged. I am moderately optimistic for 2026, at least on a personal level. (I offer no such optimism for the general state of the world.)

While this hasn’t been a particularly strong year for me, it’s hard to tell if that’s the year’s fault or just mine. My most common gripe has been unevenness: there have been a lot of records—including some I’ve ultimately loved—that have annoyed me through failing to sustain their heights throughout. Nonetheless, everything on my list belongs there. This year’s primary theme appears to be Angry Cello Guy, with a suspicious five entries on my list prominently featuring cellos or other bowed string instruments. Guitars are so 2024. There are multiple records here that are genre-hopping, experimental, and hard to classify. Otherwise, this is a pretty typical year for me, with post-metal heavily represented, several prog-adjacent pieces, and no surprisingly brvtal contenders, despite trying a few. Ah, well, next year.

My year has also kept me from getting to know this year’s intake of new writers as well as I’d like, but I’m sure they’re all lovely people with only somewhat questionable taste. To the brave crew of editors and promo jockeys, you have my thanks for your endless work; to the retiring veterans, please enjoy your sabbaticals without incident; and to the readers, long may you continue resisting the urge to let AI summarise our writing.

#ish. Scardust // Souls – Souls took a lot longer to grow on me than Strangers, and it’s more uneven than its predecessor. But the highs are fabulous. Noa Gruman is still preternaturally good on vocals. If the whole record were as good as the “Touch of Life” suite with her and Ross Jennings, this would be, no exaggeration, #1. Alas, while there are a couple of other bangers (“Unreachable”), much of the rest of Souls just doesn’t impress me, in that awkward sort of way you get when it’s really good and it feels unfair to moan about it too much, but you know they can do so much better.

#10. Jo Quail // Notan – Quail remains one of the most mesmerising live acts I’ve ever seen. Between the strength of her modern classical compositions and the frankly magical way she weaves them together live, armed with only a cello and a loop pedal, her shows are a must-see event. Fittingly, I saw Notan performed live before I heard the recording, but it’s worth it in recorded form too. The nature of loop pedal based composition lends itself to the sort of slow build that makes for really good post-rock/metal. Each piece goes in a pleasingly different direction and experiments with different additions to her sound palette. That she can do them live solo as well is merely the icing on the cake.

#9. Mares of Thrace // The Loss – I wrote most of a review for this album at release,2 but never quite got it over the line. I found it so raw it was hard to listen to. As my difficult period got worse, I just gave up on being able to listen to it at all, and with it any hope of finishing even a woefully late review. Where The Exile was immediately catchy and driving, The Loss’s immediacy is its anguish, and that was all I could hear. Mares of Thrace are already hard to genre pigeonhole, and The Loss is all over the place, spanning sludge, noise, prog, and doom, with trad inflections. I’m actually glad I didn’t manage to get the review done at the time. Coming back to it for list season, I appreciate it a lot more easily than I did at the time. The catchiness and driving energy are still there, but the additional stylistic variety makes it more interesting. The anguish adds weight and impact. The catharsis of the final track is well earned. It’s still a hard listen, but it’s a rewarding one. Who knows, maybe I’ll even get a TYMHM out!3

#8. Black Narcissus // There Lingers One Who’s Long Forgotten – This is just gorgeous. The best post-rock does an awful lot with very little, and Black Narcissus’ unhurried drums and bass do an absolutely astonishing amount. There’s no way something so minimalist and so languid should be able to sustain an hour of music. I cannot emphasise enough how absolutely beautiful There Lingers One Who’s Long Forgotten is, and its hour-long runtime just floats by. This is the epitome of “do one thing and do it well” as a philosophy.

#7. Fallujah // Xenotaph – Fallujah are a long time big name I had begun to appreciate more in the last couple of years, after seeing them live. They still hadn’t really clicked for me recorded, but Xenotaph changed that. Tech death’s curse is sterility, and the warmth of this record lifts Fallujah out of that trap. It’s, paradoxically, at once dreamy and bluntly impactful. The writing is as strong on melody as it is on technicality. It seems slightly redundant to say this about a record that’s on my year-end list, but I really enjoy the immediate experience of listening to Xenotaph. There’s something intensely satisfying about the smoothness: who says heavy music has to be abrasive? The production is still a sticking point, though.

#6. Concrete Age // Awaken the Gods – Awaken the Gods is just a lot of fun. There’s not enough metal drawing on the instruments and composition of folk music from the Caucasus and the steppes. It reminds me a lot of Mongol, but with better and more varied folk instrumentation. There’s a couple of songs that are a bit more straight thrash with folk instruments, which are less exciting, but it doesn’t detract from the rest of the record. It also delivers further proof of my theory that folk metal covers of terrible pop songs are the pinnacle of music. My go-to for when I wanted something to uncomplicatedly bang my head to.

#5. Calva Louise // Edge of the Abyss – Calva Louise are what happens when somebody spots an “all of the above” button under “genre” on the band creation screen and their curiosity gets the better of them. They are what you get if you take the Diablo Swing Orchestra and remove their classical instruments and sense of restraint. Something this absurd could only ever have been terrific or terrible. Obviously, this is terrific. AMG called it wild, unpredictable, and addictive, and it certainly is. They sound like nothing else I’ve ever listened to, and manage to be dangerously catchy on top of it. This hit in the middle of my difficult period, and it was nearly the only thing I listened to for a month. A teeny sense of easing off the gas on the last few songs is the only weakness. Spectacular.

#4. Völur & Cares // Breathless Spirit – Odd, unsettling, pretty, experimental, captivating—Breathless Spirit is a weird album. Violin and viola occupy the sonic space where you’d typically find lead and rhythm guitars. The composition wanders through modern classical, atmoblack, noise, jazz, folk, doom, and more. Actually, the main textural comparison I would draw here is to Hierophant Violent, though Breathless Spirit is far less single-minded in direction. Many of the more ambient sections, and some of the clean vocals, remind me of the build-up stretches of that album, and likewise, there’s some similarity in the crushing crescendos. Just in case you thought you knew where this was going, the other comparisons I’m going to draw are to fellow Canadians The Night Watch and Thrawsunblat. Of everything on the list, this is the one at highest risk of me feeling like I placed it too low in a year’s time—I found it late and it could grow on me further. A truly fascinating record.

#3. Messa // The Spin – While I’ve been a fan of Messa since their first record and through all their stylistic exploration, The Spin really blew me away. Sara Bianchin sounds fantastic, and there’s a wonderful allure to the tone of the rest of the band. Others have commented on The Spin feeling a bit like a collection of songs rather than a cohesive record, which is probably true and probably kept this from the top spot… but the songs are so damn good it’s hard to care that much. I came back to this a few times, even during the worst few months of the year, and had half of it stuck in my head half the time. At one point, I spent several days unable to get the opening riff of the opening track out of my head, and it doesn’t get any less addictive from there. In the last couple of months, I’ve had to actively resist putting it on at times to make sure I give other, less immediate records enough listening time.

#2. Psychonaut // World Maker – Yeah, so I’m a sucker for the kind of atmospheric post/prog metal played by bands like The Ocean or Dvne. Here is this year’s winner in that space. I’ve wanted to like Psychonaut in the past more than I actually have, but World Maker finally clicked for me in a big way. It’s intricate, catchy, in places techy, in others psychedelic. The songs unfold in interesting ways, and listening to it feels like exploring. From the buildup of the opening track, I knew this would be exactly what I wanted in this sort of music. And as Ken wrote in his review, the more personal dimension to World Maker’s themes elevates it (with some similarities to Pelagial’s place as the best Ocean album). A record that rewards time and attention.

#1. Shepherds of Cassini // In Thrall to Heresy – In Thrall to Heresy’s victory here was not exactly inevitable when I reviewed it back in February, but it was certainly likely. The glorious return of a niche band I loved and thought lost? It would have taken something spectacular to upset it. I listened to this all year, through the difficult period, and kept on loving it. For all that retro prog is a bit of an oxymoron, 00s-early 10s prog is one of my favorite eras of music. (There was a lot of rabbling in the comments about me not having explicitly compared them to Riverside and Tool, so to be explicit, if you liked Riverside through to SoNGS, you’ll like this. They’re far less pretentious than Tool.) In Thrall is a fresh enough take to feel like progression, not a throwback. Its violin leads add variety (as well as claiming the Angry Cello Guy crown for the year). Shepherds’ songwriting has matured in the last decade. Their instruments sound pleasingly chunky. A post-y twist presses additional musical buttons for me. One could only make this more laser-targeted at my specific musical niche by somehow adding industrial bluegrass.4 Don’t make me wait 10 years for the next record, please.

Honorable Mentions:

• 1914 // Viribus Unitis – Brutal and moving, this is some really good blackened death/doom. It’s not as good as Die Urkatastrophe, though—sorry, 1914 fans.
• Aephanemer // Utopie – The spectre of AMG’s law of diminishing recordings begins to haunt Aephanemer, for what is Utopie if not Aephanemer sounding like Aephanemer? It’s damn good, though.
• Ellereve // Umbra – Sad-girl post-metal? Yes please.
• Howling Giant // Crucible & Ruin – Just some really good stoner/psych.
• Net-Ruiner // Prototype – The synthwave/metal cross ends up being a little too much of a gimmick to land a proper list spot, but nonetheless an absolute blast.
• Raphael Weinroth-Browne // Lifeblood – I know I made an Angry Cello Guy joke up there, but it turns out you can, in fact, have too much cello. Weinroth-Browne’s multi-layered modern classical composition (in both senses) of cellos is always impressive and regularly emotive. Had Lifeblood been edited down to keep, say, the best 40 minutes of its current 60, this would have been up there in my list somewhere. Alas.
• Various Artists // KPop Demon Hunters – Relegated to HMs because this isn’t an album I like so much as it’s an album containing six songs I absolutely adore, and six others, but fuck me, the main cast songs (less “Soda Pop”) are bangers.

Songs o’ the Year:

• Calva Louise – “Impeccable”
• Concrete Age – “Boro Boro”
• Howling Giant – “Scepter and Scythe”
• HUNTR/X – “Golden”
• HUNTR/X – “Takedown”
• HUNTR/X – “What It Sounds Like”
• Messa – “Fire on the Roof”
• Saja Boys – “Your Idol”
• Scardust – “Touch of Life” suite
• Shepherds of Cassini – “Abyss”
• Tiktaalika – “Fault Lines:

Twelve

I am so behind on writing this. Behind on writing in general, really, but I’m writing this introduction very late by Angry Metal Standards®.5 Over the year, my writing for this blog waned notably, but I’m still very proud of my output this year, and discovered some delightful gems thanks to this blog and my privileged position to write for it. As is traditional, I want to extend my sincere thanks to my co-writers for their fantastic camaraderie and to the editors who allow me to keep writing here, probably against their better judgment. Everything changes all the time, but feeling right at home here stays the same.

Last year I claimed that, by any measure, 2024 was the worst year of my life, and I’m happy to say that remains true this year. Interestingly, however, I listened to much less music, and, more to the point, liked less music. In the past few months, I’ve been asking my co-writers here to recommend the music they think will top their own lists, and I just… kept not liking them. For some reason, almost nothing has been sticking musically. That’s not a comment on my colleagues’ tastes, of course—the writers here have an astounding talent for finding some of the best music there is. But I’ve been struggling to keep up.

So this year, I’m keeping things simple and writing about the twelve albums I liked best in 2025. Occasionally, when we talk about our end-of-year listings, there’s an idea that some albums need to be of a certain quality to be “worthy” of a top-ten (or top-top) spot, but if I start thinking that way, this list is never going to materialize. So I’ve gone with my gut and am now going to talk your ear off about the music I personally liked the most.

All of which is to say, I think my list is weird this year. I did my best! And I’m happy with it. But it’s weird.

Thanks for reading my nonsense in 2025—it really does mean a lot. Let’s all do it again next year!

#ish. Dawnwalker // The Between – A single-song album is such an ambitious undertaking, and I really can’t express enough how impressive it is that “The Between” feels like an actual half-hour song. Dawnwalker is so impressive on The Between, and the composition is truly a work of art. It’s grown on me since I reviewed it in October, and I just have to highlight the amazing songwriting from Mark Norgate and Dawnwalker before I dive into my list proper.

#10. Calva Louise // Edge of the Abyss – Let the weird begin! Edge of the Abyss is not something I thought for a second would make this list when Angry Metal Guy wrote about it, but it’s wormed its way into my head and heart. Deceptively catchy, a lot cleverer than it first appears, and filled to the brim with energy, Edge of the Abyss is a fun, memorable, and surprisingly relatable slice of… some kind of metal. I really don’t know how to categorize it, and I’m not sure how to get it out of my head either. Great album.

#9. Nechochwen // Spelewithiipi – Continuing with what may be another unusual pick, Nechochwen’s Spelewithiipi is not something I considered for this list straightaway. I have to admit, though, it has been a comforting listen that I’ve returned to often over the course of the year. It is well-composed, deceptively complex, and easy to spin again and again. On days I’ve felt low, there’s been a magic in Spelewithiipi that does wonders in keeping me well.

# 8. Völur & Cares //Breathless Spirit – Breathless Spirit is such an impressive album. For one thing, you’d never, ever guess there isn’t a lead guitar, despite the fact that Bates’s violin is a significant part of Völur’s unique character and spirit. As doom metal, Breathless Spirit dominates; it is powerful, mournful, wry, and cathartic. It’s a truly fascinating display of music, one that reveals new character every time you listen.

#7. Falling Leaves // The Silence That Binds Us – Speaking of doom metal, The Silence That Binds Us tells us that sometimes taking a break can be a good thing. It’s been thirteen years since Falling Leaves released their debut, and their sophomore feels like it had been simmering for a while. Expert compositions, passionate performances, and a huge atmosphere contribute to what I thought was “the” doom metal release of the year. There is so much care and attention in The Silence That Binds Us, so much feeling from every player, so much love in the production and master—even the cover art is gorgeous.

#6. Raphael Weinroth-Browne // Lifeblood – I didn’t expect Lifeblood to creep its way up here the way it has, but I’ve been listening to it more and more lately and realized I actually like it a lot more than a lot of other stuff. Raphael Weinroth-Browne’s compositions are stunning, and the more you listen to them, the better they get. For an instrumental, non-metal project, Lifeblood conveys so much meaning, so much emotion, and feels heavy for what it is. It’s a powerful work and a lovely one too—exactly what we’ve come to expect from as talented a cellist and composer as Weinroth-Browne.

#5. Aephanemer // Utopie – The direction Aephanemer’s music has taken since they first appeared on this blog with Prokopton is fascinating. Each release since has been a touch less aggressive and notably broader in terms of its composition and ambition. Utopie, I feel, balances these nuances the best—it’s an epic, sprawling album that reaches high and grasps onto something exciting. There is a level of care and attention to detail to Utopie that rewards repeat listens, and I still feel like I’m getting more and more into it as I listen. Who knows, maybe I’ll regret this “low” placement before long; this one’s a grower.

#4. Amorphis // Borderlands – Amorphis don’t need much introduction at this point, but lately I haven’t been very invested in their releases. It can be tough, I imagine, being such an iconic band with such a recognizable sound. But Borderlands feels fresh to me; an old formula done right, modernized reasonably enough to stand out, and with the gusto of a much newer band. Incidentally, this was also the first CD I’ve purchased in years—an impromptu grab at a record store I’d forgotten existed—and the bonus tracks therein are amazing additions (“Rowan and the Cloud” is a delightful closer, more so, I would argue, than “Despair”). It’s nice to be enamored by Amorphis again. They seem to still know what they’re doing.

#3. Saor // Amidst the Ruins – I’ve slept on Saor in the past, but Amidst the Ruins is an amazing album. Rarely is black metal—atmospheric black metal, no less—so impassioned, but I’ve never wanted to visit Scotland so much as the first time I heard “Rebirth” at the end of my first listen. It’s hard to quantify what makes Amidst the Ruins such a special record, really. The blend of black metal and folk metal isn’t new, nor is the style in which Marshall writes so well. But listening to Saor, you can’t help but feel his pride and awe for a homeland you may never have seen yourself. Amidst the Ruins crept its way into my rotations again and again throughout the year, and it’s been the most pleasant musical surprise of 2025 for me by far.

#2. Apocalypse Orchestra // A Plague Upon Thee – I really thought I’d give Apocalypse Orchestra my top spot, but admittedly, I thought that before I’d even heard it. The way these guys blend medieval themes with folk, doom, and metal is genuinely fascinating and incredibly well done. Add to the list that they perform thorough research and the music is educational on top of it all—what’s not to love? A Plague Upon Thee was my most-anticipated album of the year, and Apocalypse Orchestra really delivered, with sweeping epics telling takes of historic darkness and endearing humanity. Everything from the bagpipes to the choirs sounds amazing, and while I did have a couple of reservations initially, the simple truth is that this music is so well up my alley—and is performed so well too—that I was always bound to love it enough for this list. I can only hope to uncover more music as wonderfully niche as this again.

#1. 1914 // Viribus Unitis – I have not listened to every item of music released in 2025, but I still think I can say that none could be more powerful than 1914’s Viribus Unitis. I listened to nothing heavier, nothing more memorable, and nothing so relevant as 1914’s story of a Ukrainian soldier caught up in the mania of the First World War. From battle-frenzied bloodlust to heartbreaking captivity, his story follows 1914’s relentless message of the horrors of war. In the past, I’ve praised 1914 for the honesty in their bleak outlook on their namesake war, and Viribus Unitis could not have done a better job in following that idea. The songs range from brutal to cathartic; every guest musician elevates their song, and the choir is a brilliant way to balance trademark heaviness with emotional impact. Viribus Unitis is the most impactful album I’ve listened to in a long, long time, and I admire every musician involved for their part in that. Viribus Unitis was my top album for 2025 the moment I finished the first spin.

Honorable Mention

• Marko Hietala // Roses from the Deep – I’ve looked back at my review of Roses from the Deep a couple of times since writing and wondered if my personal admiration for Hietala’s career made me over-excited to review it. Is it possible I rated it highly simply because it’s such a fascinating culmination of the career of a musician I like? Either way, I’m keeping to the course—this was a fun listen in a year where I didn’t find so many upbeat albums to enjoy, and I keep coming back to it in bits and pieces depending on my mood; it’s a diverse exploration, and you can tell everyone had a good fun creating it.

Song of the Year

This was a hard one. There are so many powerful, emotional songs littered throughout this list—especially on Viribus Unitis, where the passion is particularly raw. But in keeping with the theme of what I personally found most affecting, I just keep coming back to this little gem on Autumn Tears’s latest. “Martyrdom – Catharsis (Where Gods Go to Die)” has a strangely compelling quality that kept me coming back again and again since I first reviewed Crown of the Clairvoyant. The singing, choirs, organ—really, everything about the composition is mesmerizing. I don’t imagine a lot of people will have this one on their year-end playlists. It’s a niche, quiet little song, but it’s wormed its way into my heart and speaks strongly to how I’ve felt about 2025 in a way I can’t quite describe.

Crown of the Clairvoyant by Autumn Tears

Listurnalia is now upon us once again! If you are not ready to be assailed by non-stop lists and bad opinions for the next week and change, I suggest you get fooking ready! Listurnalia cannot be stopped, nor contained. It can only be tolerated and endured!

More than any year in recent history, 2025 saw more seasoned staffers step away from writing duties due to time constraints and life changes. To compensate for the loss of these slackwagoning quitters and shirkers, we added a gaggle of fresh new voices. This made for a bittersweet time around these parts as long-time friends departed and a bunch of untested, unknowns rose through the brutal n00b gauntlet to seize the means of promo production. These greenhorn neophytes have created great havoc at AMG HQ with their terrible taste, inability to follow directions, and steadfast refusal to ignore deathcore.

We’ve been here before, though, and we always straighten out the newbie upstarts. The daily beatings, deprivations, and absence of positive reinforcement will wear them down, and if not, we have plenty of space in the rotpit out back. This is, and will ever be, the AMG modality.

2026 will be an interesting year as the new crew members are shepherded by the olde while everyone is crushed beneath the iron heel of AMG management. Who will make it to 2027? Who will be sold off to Metal Wani for a box of bananas and Gorilla Glue? Place your bets in the official AMG Survival Pool!

As you read the Top Ten(ish) lists below, remember, reading our content is free, but you get what you pay for.

Grymm

#10. Venomous Echoes // Dysmor
#9. Blut Aus Nord // Ethereal Horizons
#8. Dormant Ordeal // Tooth and Nail
#7. Structure // Heritage
#6. Lorna Shore // I Feel The Everblack Festering Within Me
#5. Sigh // I Saw The World’s End – Hangman’s Hymn MMXXV
#4. Imperial Triumphant // Goldstar
#3. Am I In Trouble? // Spectrum
#2. Dax Riggs // 7 Songs for Spiders
#1. Paradise Lost // Ascension – I fully expected Paradise Lost to come out with quality music, which has been mostly par for the course in their storied almost-40-year career, and no one could blame them if they decided to coast along on their legendary sound. Instead, Ascension sees them giving a masterclass in songcraft and atmosphere, showing everyone, everywhere, how it’s done. With Black Sabbath now officially put to rest, Anathema long gone, and whatever the fuck is happening within My Dying Bride these days, somebody has to fly the British Doom flag high and proud, and Paradise Lost have done a bang-up job of doing so.

Personal Highlight o’ the Year: Seeing Acid Bath live. I may or may not have cried during “Venus Blue,” and no, I don’t fucking care. 19-Year-Old me was pleased as punch that 48-Year-Old me got to see a legendary band (and one of his personal favorites) come back from tragedy to pay tribute to their fallen bassist and friend, Audie Pitre, by giving it another long-awaited go.

Disappointment(s) o’ the Year:

• Losing so many influential heroes (RIP Ozzy Osbourne, Ace Frehley, and Tomas Lindberg, among too many others)
• My health: I was hoping to be a lot more active this year, but early on, I needed to, in the immortal words of David Lynch, “fix (my) heart or die.”1 Thankfully, after surgery, I feel a million times better, so you should see a lot more of me in 2026. You have been warned.

Song o’ the Year:

• Paradise Lost // “Salvation”

El Cuervo

#ish. Astronoid // Stargod
#10. Ollie Wride // The Pressure Point
#9. Kauan // Wayhome
#8. Zéro Absolu // La Saignée
#7. Mutagenic Host // The Diseased Machine
#6. Asira // As Ink in Water
#5. Bruit // The Age of Ephemerality
#4. Saor // Amidst the Ruins
#3. The Midnight // Syndicate
#2. Steven Wilson // The Overview
#1. Messa // The Spin – In a year replete with comfort picks—progressive rock, synthwave, and death metal abound—how is that Italy’s enigmatic, inscrutable Messa forged my Album o’ the Year? The Spin doesn’t take the trouble to make itself easily approachable. Doom, prog, and post influences circle around velvety melodies that sometimes sound like deliberate songs, and sometimes like jazz improvisation. But it’s these very qualities that belie its subtle allure; only with repetition and attention does The Spin shine. Messa gradually reveals rhythmic motifs, instrumental nuances, and rich compositions that enhance my life on so many days. “The Dress,” especially, is stunning. And though the record’s loungey whimsy defies metal conventions, each track prizes genuine grit through its top-drawer guitar riffs. With the devotion it demands, no record from 2025 was more rewarding than The Spin.

Honorable Mentions:

• Décryptal – Simulacre
• An Abstract Illusion – The Sleeping City
• Puteraeon – Mountains of Madness
• Hasard – Abgnose

Song o’ the Year:

• Ambush – “Maskirovka”



GardensTale

#ish. Structure // Heritage
#10. In Mourning //The Immortal
#9. Flummox // Southern Progress
#8. Der Weg Einer Freiheit // Innern
#7. Nephylim // Circuition
#6. Besna // Krásno
#5. Messa // The Spin
#4. Labyrinthus Stellarum // Rift in Reality
#3. Gazpacho // Magic 8 Ball
#2. Dormant Ordeal// Tooth & Nail
#1. Moron Police // Pachinko — I was a little nervous when I first read about the length and ambition behind Pachinko, especially in the context of the incredible and very concise A Boat on the Sea. I’ve never been this happy to be this wrong. Nothing in the last decade has overtaken my life as much as Pachinko has, and I’m listening to it yet again as I write this, and will probably restart it once it finishes. Pachinko has a lot in common with Everything Everywhere All At Once, one of my all-time favorite films, as a treatise on the chaos of life and the importance of friends and family. It treats its philosophy of silliness very seriously, laughing in the face of darkness in such a beautiful and inspiring way; it brightens my life every time I hear it. And it does all that in tribute to a dear friend who was gone too soon and too suddenly, and no other eulogistic album has let me feel like its subject’s soul touched mine. An astounding monument to friendship on top of an incredibly accomplished hour of music. Pachinko is a miracle.

Honorable Mentions:

• Hangover in Minsk // Party is Over
• 1914 // Viribus Unitis
• Bianca // Bianca
• Fange // Purulences
• An Abstract Illusion // The Sleeping City
• Blindfolded // What Seeps Through Threads

Song o’ the Year:

• Moron Police – “Giving up the Ghost”



Non-metal Albums of the Year:

• Lorde // Virgin
• Jonathan Hultén // Eyes of the Living Night
• Shayfer James // Summoning

Mark Z.

#ish. Malefic Throne // The Conquering Darkness
#10. Urn // Demon Steel
#9. Teitanblood // From the Visceral Abyss
#8. Shed the Skin // The Carnage Cast Shadows
#7. Guts // Nightmare Fuel
#6. Dormant Ordeal // Tooth and Nail
#5. Perdition Temple // Malign Apotheosis
#4. Paradise Lost // Ascension
#3. Revocation // New Gods, New Masters
#2. Death Yell // Demons of Lust
#1. Abominator // The Fire Brethren – It took me a few years after hearing this Australian duo’s last album, 2015’s Evil Proclaimed, to realize I was wrong about them. Their raw and relentless black-death metal wasn’t just good, it was fucking awesome. With their long-awaited sixth album, The Fire Brethren, Abominator has conjured flames that reach higher than ever. As always, the enraged rasps, scorching riffs, and endlessly pummeling rhythms are like plumes of hellfire shot directly into your ear canals. But amidst the bludgeoning is some genuinely great songwriting, with deep-cutting hooks (“The Templar’s Curse,” “Underworld Vociferations”), flashes of melody (“Progenitors of the Insurrection of Satan”), thrashy breaks (“Sulphur from the Heavens”), and just enough variety to keep everything hitting as hard as possible. It’s not for everyone, but for those into Angelcorpse and other music of that sort, The Fire Brethren is the type of album you just can’t get enough of.

Honorable Mention:

• Blasphamagoatachrist // Bestial Abominator

Song (Title) o’ the Year:

• Omegavortex – “Dystopian Worldrape”

Song o’ the Year:

• Fugitive – “Spheres of Virulence”



Carcharodon

#ish. Dax Riggs // 7 Songs for Spiders
#10. Novarupta // Astral Sands
#9. Atlantic // Timeworn
#8. Structure // Heritage
#7. Agriculture // The Spiritual Sound
#6. Igorr // Amen
#5. Messa // The Spin
#4. Abigail Williams // A Void Within Existence
#3. Cave Sermon // Fragile Wings
#2. Dormant Ordeal // Tooth and Nail
#1. Grima // Nightside – In each of 2019, 2021, and 2022, Grima released an album and, in each of those years, I listed said album (#5, HM, and #10). But this year, the year in which I have listened to the least metal and, of course, written the least since I started here in 2018, is also the year that Grima got everything dialled in to just what I want from a Grima album. On Nightside, the duo struck the perfect balance between the traditional influences of 2019’s Will of the Primordial and the propulsive, frozen atmosphere of Frostbitten (2022). The combination gives Nightside an almost hypnotic and weirdly tranquil flow, offset by Vilhelm’s rasping vocals, which remain among the best in the BM game. Every time I come back to this record, and the title track in particular, it’s even better than I remember it being, and I always end up spinning three or more times back-to-back. An album that can keep playing that trick deserves its #1 spot in my book.

Honorable Mentions:

• An Abstract Illusion // The Sleeping City
• Gorycz // Zasypia
• Psychonaut // World Maker
• Wardruna // Birna

Songs o’ the Year:

• Messa – “Fire on the Roof”



• Novarupta – “Now Here We Are (At the Inevitable End)”

Mysticus Hugebeard

#10. Orbit Culture // Death Above Life
#9. An Abstract Illusion // The Sleeping City
#8. Qrixkuor // The Womb of the World
#7. Dormant Ordeal // Tooth and Nail
#6. Panopticon // Laurentian Blue
#5. Blackbraid // Blackbraid III
#4. Arkhaaik // Uihtis
#3. Kauan // Wayhome
#2. Wardruna // Birna
#1. Thumos // The Trial of Socrates – I recall groggily stumbling upon Thumos’ The Trial of Socrates at work one early morning, and I’m not sure if I’ve grown attached to it or it’s grown attached to me. It looms in my periphery, routinely interrupting my listening schedule for just one more spin. This gargantuan dive into ancient Greek philosophy and justice is melodically rich, laden with atmosphere, and fiercely intelligent. I love how this album stimulates my curiosity. I pore over The Trial of Socrates like a madman, piecing the puzzle together with feverish glee but never quite feeling finished, because every re-listen yields new shapes, new colors, new ideas. It eggs me on to research various topics on ancient Greek history or philosophy, and even made for an unlikely study partner during my long preparations for the German A1 exam. I always feel smarter by the end of it—hubris, I’m sure, but The Trial of Socrates genuinely sparks my imagination in ways few albums do. Time to go listen to “The Phædo” for the zillionth time.

Honorable Mentions:

• Night Flight Orchestra // Give Us The Moon
• Mutagenic Host // The Diseased Machine

Songs o’ the Year:

• Disarmonia Mundi – “Outcast”

The Dormant Stranger by Disarmonia Mundi

• Jamie Page & Marcy Nabors – “Do No Harm (Ventricular Mix)”

Do No Harm by Jamie Paige, Marcy Nabors, & Penny Parker

• Thumos – “The Phædo”

The Trial of Socrates by Thumos

Disappointment(s) o’ the year:

• The dissolution of Ante-Inferno: After Death’s Soliloquy topped my list last year, I was genuinely gutted to see Ante-Inferno’s post that they were no more. Still, I shall not weep but rather smile that they happened, because Ante-Inferno was a rare breed of genuinely moving black metal. Just that one album rooted itself so deeply within me, and I will be listening for a long time.
• Arno Menses leaving Subsignal: Man, fuck. Fuck. Remember my nuclear-grade glaze of Subsignal, where I might as well have said Menses’ voice single-handedly justified the entire existence of music? How could I not break down in heaving sobs in the middle of this Denny’s when I heard that Menses and Subsignal have parted ways? It sucks, I tell ya. I will still listen to what Subsignal puts out in the future, because Markus Steffen is a talented musician, but it’s going to be a huge adjustment since Menses is nigh irreplaceable.

Samguineous Maximus

#ish. Imperial Triumphant // Goldstar
#10. Primitive Man // Observance
#9. Motherless // Do You Feel Safe?
#8. Deafheaven // Lonely People with Power
#7. Weeping Sores // The Convalescence Agonies
#6. Between the Buried and Me // The Blue Nowhere
#5. Calva Louise // Edge of the Abyss
#4. 1914 // Viribus Unitis
#3. Crippling Alcoholism // Camgirl
#2. Crippling Alcoholism // Bible Songs II
#1. Yellow Eyes // Confusion Gate – Yellow Eyes are one of the best black metal bands in the game, and Confusion Gate is their most impressive work to date. It sees the band return to a more traditional atmospheric sound, but with the lessons learned from their explorations of dissonance and ambience. The result is a kaleidoscopic blend of gorgeous melodies, haunting riffs, and a pervasive sense of pathos that only the best art can achieve. Confusion Gate feels like communing with nature from the top of a wintry peak, embodying both impossible grandeur and awesome terror. This is a record that bypasses the analytical reviewer’s brain and just hits me right in the feeling. It offers a unique catharsis in a year where I truly needed it.

Honorable Mentions

• Flummox // Southern Progress
• Hexrot // Formless Ruin of Oblivion
• Ava Mendoza/Gabby fluke-Mogal/Carolina Pérez // Mama Killa
• Strigiform // Aconite

Song o’ the Year:

• Crippling Alcoholism – “Ladies Night”



Spicie Forrest

#ish. Cryptopsy // An Insatiable Violence
#10. Crimson Shadows // Whispers of War
#9. Oromet // The Sinking Isle
#8. -ii- // Apostles of the Flesh
#7. Suncraft // Welcome to the Coven
#6. Suncraft // Profanation of the Adamic Covenant
#5. Chestcrush // ΨΥΧΟΒΓΑΛΤΗΣ
#4. Dormant Ordeal // Tooth and Nail
#3. Qrixkuor // The Womb of the World
#2. Primitive Man // Observance
#1. Wytch Hazel // V: Lamentations – I know, I’m surprised too. But the bottom line is that I’ve been listening to V: Lamentations front to back at least once a week since it released on the most American of holidays, July 4th. For Steel, Wytch Hazel’s latest didn’t have the same staying power as previous efforts, but Lamentations is the first to truly resonate with me. Though musically consistent with their Wishbone Ash-meets-Eagles style, vocalist Colin Hendra brings a new sense of passion to the record, and the interplay between instruments, vocals, and lyrics hits me like a lightning bolt. Very possibly inspired by the core Christian tenet laid out in Romans 6:23-24,2 Lamentations is a masterful portrayal of what it means to perpetually fail, to know you’ll never be good enough, and in the face of a salvation that renders all efforts, deeds, and accomplishments worthless, to keep striving toward the impossible anyway. Even for godless sinners like me, Lamentations is a beautiful reminder that purpose is found in hardship, that the journey is the goal, and that falling down is merely an opportunity to stand up again.

Honorable Mentions:

• Proscription // Desolate Divine
• Apocalypse Orchestra // A Plague upon Thee
• Messa // The Spin
• Bloodywood // Nu Delhi
• Pedestal for Leviathan // Enter: Vampyric Manifestation

Song o’ the Year:

• Yellowcard – “honestly i”

Grin Reaper

(ish) Sallow Moth // Mossbane Lantern
#10. Turian // Blood Quantum Blues
#9. Calva Louise // Edge of the Abyss
#8. Lychgate // Precipice
#7. An Abstract Illusion // The Sleeping City
#6. Thron // Vurias
#5. Structure // Heritage
#4. Species // Changelings
#3. Havukruunu // Tavastland
#2. Aephanemer // Utopie
#1. 1914 // Viribus Unitis – I didn’t know Viribus Unitis would be my top album of the year the first time I listened to it, but I knew it would list. 1914’s naked emotion and rousing story of a Ukrainian soldier’s survival through World War I, reconciliation with his family, and inescapable return to war remains as gripping and bittersweet now as it did the first time I heard it. Across adrenaline-fueled riffing, oppressive marches, and somber dirges, 1914 never relents on musical or lyrical weight. Though Viribus Unitis was released late in the year, it quickly became the standard I used to appraise albums while going through listing season. 1914 paints war-torn life with savage grace, supplying devastating melody and grueling crawls that elevate the album to such heights that I’m genuinely moved each time I get to the end. Viribus Unitis is bleak, raw, and human, but for all that, I’m never deterred from listening. Ultimately, 1914 clutches the threads of hope and weaves an aural tapestry that brings tragedy and triumph to life, cementing Viribus Unitis as my undisputed top album of 2025.

Honorable Mentions:

• Walg // V
• Moron Police // Pachinko
• Defigurement // Endbryo
• Ültra Raptör // Fossilized
• Igorrr // Amen

Songs o’ the Year:

• Aephanemer – “Le Cimetière Marin”

• 1914 – “1918 Pt. III: ADE (A Duty to Escape)”

Andy-War-Hall

#ish: Dragon Skull // Chaos Fire Vengeance
#10: Changeling // Changeling
#9: Steel Arctus // Dreamruler
#8: Abigail Williams //A Void Within Existence
#7: Petrified Giant // Endless Ark
#6: Imperial Triumphant // Goldstar
#5: Structure // Heritage
#4: Lipoma // No Cure for the Sick
#3: Crippling Alcoholism // Camgirl
#2: Hexrot // Formless Ruin of Oblivion
#1: 1914 // Viribus Unitis – Immersion defines great music and art for me. It is almost unfortunate how good 1914 are in this facet of their music. Their ability to transport the listener to the battlefield in all its violence, both carnal and psychological, is stupefying. The utter dehumanizing hatred with “1914 (The Siege of Przemyśl),” the ravenous bloodlust of “1917 (The Isonzo Front),” the hellish wails haunting “1918 Pt. 1 (WIA – Wounded in Action):” all portrayed vividly through 1914’s brilliantly caustic and composed musicianship and deeply personal lyricism. When Dmytro Ternushchak bellows “For three days / The Russians attacked / And accomplished nothing but / 40,000 dead pigs” [“1914 (The Siege of Przemyśl)”], it’s all you need to get into his character’s violent headspace. When 1914 mournfully sing in Ukrainian “Це моя земля”3 [1915 (Easter Battle for the Zwinin Ridge)], you grasp how someone could put their life on the line for kin and country. When our soldier sings “My little girl reached out to me / But duty calls” [1919 (The Home Where I Died)]… well, shit, your heart just has to break, right? 1914 don’t play “history metal.” Viribus Unitis is as present and relevant as you can get.

Honorable Mentions:

• Fell Omen // Caelid Dog Summer
• Ophelion // The Jaunt
• Coroner // Dissonance Theory
• Starscourge // Conqueror of the Stars – Betwixt Sundered Seraphim, the Lands Between Bleed

Song o’ the Year:

• Fell Omen – “The Fire is Still Warm”



Lavender Larcenist

#ish Spiritbox // Tsunami Sea
#10. Sold Soul // Just Like That, I Disappear Entirely
#9. Calva Louise // Edge of the Abyss
#8. Dying Wish // Flesh Stays Together
#7. Grima // Nightside
#6. Aversed // Erasure of Color
#5. Deafheaven // Lonely People With Power
#4. Ghost Bath // Rose Thorn Necklace
#3. Changeling // Changeling
#2. Dormant Ordeal // Tooth and Nail
#1. Crippling Alcoholism // Camgirl – Sometimes you listen to music, and you feel like it gets you. Camgirl was exactly that type of album, and it probably doesn’t say anything good about me. Ever since Crippling Alcoholism’s latest graced my ears and I shared it with my partner, we have been singing “I fucking hate the way I look, yeah I look like a fat fucking scumbag” way too often and mumbling “Mr. Ran away, ran away from family” every chance we get. The album is dripping with the atmosphere of neon-lit back rooms, seedy interactions, and terrible decision-making. It feels like a lens into the lives of those society has left behind, and I can’t help but feel a connection. The self-destructive nihilism, drugged-out sex, and abrupt violence that is all too common in those on the margins of life is something I think more and more we can all relate to, and Camgirl is the art that mirrors society back to us. As a result, it is an album that is just as ugly as it is terrifying and beautiful.

Honorable Mentions:

• Shadow of Intent // Imperium Delirium
• Pupil Slicer // Fleshwork
• 1914 // Viribus Unitis

Song o’ the Year:

• Crippling Alcoholism – “bedrot”

Creeping Ivy

#ish. Nite // Cult of the Serpent Sun
#10. Blackbraid // Blackbraid III
#9. Flummox // Southern Progress
#8. 1914 // Viribus Unitis
#7. Cave Sermon // Fragile Wings
#6. Saor // Amidst the Ruins
#5. Imperial Triumphant // Goldstar
#4. Phantom Spell // Heather & Hearth
#3. Coroner // Dissonance Theory
#2. Messa // The Spin
#1. Havukruunu // Tavastland – On their Bandcamp page, Havukruunu explain the concept of their fourth LP: ‘Tavastland tells how in 1237 the Tavastians rose in rebellion against the church of Christ and drove the popes naked into the frost to die.’ Sounds like the metal album of 2025 to me! But I didn’t crown Tavastland for its lyrics that I can’t understand. As Dr. A.N. Grier has been exhorting for a decade, Havukruunu stands as a model of Viking black metal consistency, having dropped only very good-to-great albums since 2015. Tavastland isn’t a radical improvement over 2020’s Uinuous syömein sota, but it’s an (arguably excellent) improvement nonetheless, making it Havukruunu’s finest work yet. Yes, these fiery Finns forge sounds reminiscent of Bathory and Immortal, but Tavastland seized my attention for its adventurous prog sensibilities. Some of this can be attributed to the return of Hümo, whose bass rattles like the four strings of Geddy Lee. But the prog is deep in the album craft, from the overture-style modulations of opener “Kuolematon laulunhenki” to the extended guitar wankery of closer “De miseriis fennorum.” Now if only I can learn Finnish, I’ll be able to appreciate the killer anti-popery narrative while headbanging to my Record o’ 2025.

Honorable Mentions:

• Am I in Trouble? // Spectrum
• Blut Aus Nord // Ethereal Horizons
• In Mourning // The Immortal
• Oromet // The Sinking Isle
• Wyatt E. // Zamāru Ultu Qereb Ziqquratu Part 1

Song o’ the Year:

• Phantom Spell – “The Autumn Citadel”



Baguette of Bodom

#ish. In the Woods… // Otra
#10. Species // Changelings
#9. Dragon Skull // Chaos Fire Vengeance
#8. A-Z // A2Z²
#7. Apocalypse Orchestra // A Plague upon Thee
#6. Amorphis // Borderland
#5. Dolmen Gate // Echoes of Ancient Tales
#4. Dormant Ordeal // Tooth and Nail
#3. Amalekim // Shir Hashirim
#2. Suotana // Ounas II
#1. Buried Realm // The Dormant Darkness – Melodic tech death? Symphonic power metal? Who knows! Much like my 2025 in general, The Dormant Darkness has a bit of everything in one gigantic clusterfuck. The great news is, neither I nor the album crumbled under all that weight. In a year full of odd twists and turns, my list became more varied and unusual than ever. Buried Realm took this variety and gave me everything I like about metal in one dense package: blazing speeds, soaring guitars, majestic vocals, and relentless fury. It’s also inexplicably well-produced for how many layers there are to deal with. While 2025 was not a particularly star-studded release year—especially compared to most of the 2020s so far—it threw plenty of fun curveballs at me, and The Dormant Darkness exemplifies this with its Xothian fusion of metal subgenres in one big Ophidian I blender ov shred. I would also like to request several Christian Älvestam features on every album, please.

Honorable Mentions:

• Victim of Fire // The Old Lie
• Dawn of Solace // Affliction Vortex
• Dynazty // Game of Faces
• Coroner // Dissonance Theory
• Hooded Menace // Lachrymose Monuments of Obscuration

Song o’ the Year:

• Dragon Skull – “Blood and Souls”

Chaos Fire Vengeance by Dragon Skull

The answer is #Helloween, #MachineHead, #LacunaCoil, #Aephanemer, #Avantasia, #ArchEnemy.

What’s the question?

Aephanemer – Utopie [Things You Might Have Missed 2025]

By Grin Reaper

Something about neoclassical instrumentation forged between the hammer and the anvil kindles the embers of my withered Reaper heart. Whether tasting northern comfort with Children of Bodom, basking in festering swamp songs with Kalmah, or unleashing hell with Norther, Finland has long asserted a stranglehold on melodeath of the symphonic persuasion.1 That is, until a modest French foursome threw down the gauntlet. I first encountered Aephanemer between Prokopton and A Dream of Wilderness, and it was love at first listen. Their classical flourishes seamlessly converge with aggressive riffing to develop complex layers of hook-infested earworms so inescapable that no prescription can rid me of their iron thrall. Four years after their last outing, Aephanemer returns with a mature interpretation of their signature sonic stamp.

Grabbing the reins to shepherd listeners to new frontiers of what melodic death metal can sound like, Aephanemer reemerges to show us the way to Utopie. Evolving the neoclassical components of platters past, Aephanemer fully realizes a stunning merger of melodeath and symphonic orchestrations.2 On Utopie, the band crafts an experience that sounds like it was written with classical composition as its basis rather than as a reservoir of embellishments. Earlier albums comprised songs with classical ingredients, but on Utopie, Aephanemer sculpts a singular work with movements and motifs that unfold through its fifty-one-minute runtime, giving the album a degree of unity and cohesion that is sometimes sought yet rarely achieved in modern music.

Where Utopie’s soundscape exudes consonance, its composition is structured in two halves. The front bears quicker, sticky numbers while the back embraces longer-form, sweeping arrangements. “Contrepoint” appropriately serves as the intermediary between each half, though the track itself conforms to the fore’s characteristics. “Le Cimetière Marin,” “La Règle du Jeu,” and “Par-delà le Mur des Siècles” fashion an opening trio of gluey tunes that flow harmoniously into one another, surprising me with how quickly those fifteen minutes pass every time I listen. The final triad of tracks encompass half the album’s runtime and deliver the soaring majesty of epics while maintaining momentum. Throughout, Aephanemer’s galloping rhythms, arpeggiated leads, and bubbly tom rolls (plus intermittent flute trills and orchestral strings) sustain a vital energy, providing a pervasive sense of kinesis and grandeur. Martin Hamiche’s guitar tone is buoyant and silky,3 the perfect counterpoint to Marion Bascoul’s harsh rasps. Mickaël Bonnevialle underpins Aephanemer’s bombast with flurries of fills and rolls, always in support of the overarching sound while occasionally commanding well-deserved spotlight. Even as a three-piece, the band performs as tightly as ever.

Utopie is the sound of a band with a vision so crisp and vivid that all you need to do is close your eyes to be whisked away to paradise. Aephanemer oozes jubilance and confidence, harnessing the successes of previous albums and honing them to an eager edge, sallying forth with nary a concern for detractors. In a year where melodeath claimed two of 2025’s Records o’ the Month (Aversed and In Mourning), plus saw releases from Amorphis, Buried Realm, Mors Principium Est, and Vittra, Utopie claims the top spot of the genre in my humble (but accurate) estimation. Aephanemer in 2025 best embodies the spirit and triumph of what symphonic melodeath can do, mustering a celebration of undeniable charm and panache. Go forth and embrace bliss. Go to Utopie.

Tracks to Check Out: “Le Cimetiére Marin,” “Contrepoint,” “La Rivière Souterraine,” “Utopie (Partie II)”

#2025 #aephanemer #amorphis #aversed #buriedRealm #childrenOfBodom #frenchMetal #inMourning #kalmah #melodeath #melodicDeathMetal #morsPrincipiumEst #napalmRecords #norther #symphonicMetal #thingsYouMightHaveMissed2025 #tymhm #utopie #vittra

Aujourd'hui sur Blog à part –

Aephanemer: Utopie

Ça faisait un petit moment qu’on les attendaient au tournant: Aephanemer a enfin sorti son nouvel album, Utopie et il contient plusieurs surprises.

#aephanemer #deathMetal #france #metalSymphonique

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