Stuck in the Filter: October 2025’s Angry Misses

By Kenstrosity

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.1 Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud2 I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite3 Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.4 In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ300119225 [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

#2025 #Acoustic #Adrift #Aggravate #AliceInChains #AmericanMetal #AncientMonumentsAndModernSadness #Ancst #Anthrax #AsTheWorldTreeFell #AtmosphericBlackMetal #BlackCrossHotel #BlackMetal #Bleed #Bloodgutter #ByTheGraceOfGod #CanadianMetal #CanvasOfSilence #CattleDecapitation #CaveIn #ClosedCasketActivities #Converge #Crust #CutToTheCoreVol1 #DeathMetal #Deftones #Depravity #DiamondHead #DormantOrdeal #EdgewoodArsenalRecords #Enragement #ExtinguishAllExistence #FellOmen #Fellowship #FiadhProductions #FinnishMetal #FuneralDoom #FysiskFormatRecords #GalgerOgBrann #GloriousDepravity #GordianKnot #GrooveMetal #Grunge #HardRock #Hardcore #Havok #HeavyMetal #Helmet #HorrorPainGoreDeathProductions #IndependentRelease #IndustrialMetal #InternationalMetal #IronMaiden #JapaneseMetal #KillingJoke #KingCrimson #Lincoln #MadderMortem #MeAndThatMan #MelodicBlackMetal #Miasmata #Ministry #MutoidMan #MyDyingBride #NapalmDeath #NaturmachtProductions #NewZealandMetal #Nightwish #NorwegianMetal #Oct25 #Oromet #Ossuary #PaxAeternum #PigDestroyer #ProgressiveMetal #ProgressiveRock #RedSkyMourning #RepulsiveSummoning #Review #Reviews #RockshotsRecords #Rotpit #Sanguisugabogg #ScorchingTomb #SelfRelease #SelfReleased #SenseField #Skitsystem #Snapcase #SomeoddpilotReocrds #SongsForSwitches #SoulBlind #Soulfly #Starer #StephenBrodsky #StuckInTheFilter #StuckInTheFilter2025 #Subterrania #Sutratma #SymphonicMetal #TerrorCorpse #Testament #TexasIsTheReason #TheDarkElement #Theocracy #Threadbare #TimeToKillRecords #toe #Tragedy #TranscendingObsurityRecords #Uaar #ViolentTestimony #Vomitory #Windir #Xaoc #РЛБ30011922 #夢遊病者

Atlantic – Timeworn [Things You Might Have Missed 2025]

By ClarkKent

The picture I have in my head of Ireland is an isolated, yet calming, place by the sea. Callan Hoy, from the western coastal town of Galway, further cements this image on the debut record of his atmospheric post-black project, Atlantic. It’s apparent that the setting is important to Timeworn, as crashing waves not only begin and end the album, but they make frequent appearances throughout. This gives the feeling that Hoy recorded Timeworn right along the shores of the Atlantic Ocean. A calm pervades despite the energetic black metal on display, making Atlantic a pleasing melodic journey you’ll want to play on repeat.

Atlantic alternates between atmospheric post-black metal and a much more poppy-style of black rock. The three longer tracks hue more towards the atmospheric (“Weathered,” “Underside,” “Spirit Trails”), but rather than atmoblack of the depressive variety, this is more of an uplifting form. Hoy’s guitar tones ooze feel-good vibes along the lines of Countless Skies, but with plenty of blackened reverb. These lengthier songs have a lot in common with the black metal of Starer and the black/shoegaze of Deafheaven. On the other end are the shorter tracks (“Timeworn,” “Voyages”), which sound almost like pop/rock songs, only with heavy reverb and dark growls. There’s a feeling of joy in the instrumentation that takes me back to Torche’s Harmonicraft. The drums by Milan Jejina bring out the pop with simple yet powerful beats that’ll get you bopping along. The combo of kitwork and catchy riffs make “Voyages” one of the most memorable tunes of the year.

There’s something about all of the performances that make Timeworn so pleasing to listen to. Hoy makes heavy use of tremolos to keep up a feeling of constant kinetic motion. The jubilant tone of the tremolos is pleasant enough, but the way Hoy blends melodies with the atmospherics elevates the music. The melodic elements also make the lengthier passages on songs like “Spirit Trails” work—they keep you engaged for every second. Hoy’s vocal performance is also nothing to sneeze at. His growls are guttural rather than the piercing screamo style of some shoegaze, and he has a surprisingly melodic cadence that helps fill up every second with satisfying, catchy sounds. Atlantic features very little cleans, but they do complement the growls on “Underside” and reveal just how versatile an artist Hoy is.

Timeworn is an impressive achievement, the mark of a young talent with strong songwriting clout. While most of the songs pass the seven-minute mark, they never meander or feel boring. Hoy mixes in the shorter, poppier tracks to create a varied and powerful listening experience. Atlantic blew me away when it crept into my Bandcamp feed back in April. Hoy has created something special that I think even those who don’t love atmospheric or post-black metal can appreciate. Given that it’s just a bite-sized 34 minutes, there’s no reason not to give it a spin—and then another as it calls to you like a siren luring unwitting sailors into the sea. But don’t worry, there’s no danger here, just some pleasant earworms.

Tracks to Check Out: “Underside,” “Voyages,” “Spirit Trails”

#2025 #Atlantic #AtmosphericBlackMetal #BlackMetal #CountlessSkies #Deafheaven #FiadhProductions #IrishMetal #PostBlackMetal #PostMetal #Starer #ThingsYouMightHaveMissed2025 #Timeworn #Torche #TYMHM

Fós – Níl mo chroí in aon rud Review

By Carcharodon

When I reviewed Irish duo Fós’ last outing, Rinne mé iarraidh (which translates as “I Tried”), back in 2020, I wanted to be spellbound. And I was, in parts. Combining traditional Irish folk sean-nós singing (courtesy of Orla Cadden Patel) with the drone, electronica and the vaguely post-metal stylings of multi-instrumentalist and main songwriter Fionn Murray, it had a deeply emotional core. It was also rare in offering something genuinely unique. At the same time, the duo were finding their voice on that record, and it showed. Cadden Patel’s voice was stunning but, at times, rather than coalescing with the music, the two felt discordant and disjointed, while the music itself was rarely memorable. Four years later, with a record deal and a new singer—Susan ní Cholmáin—Fós are back with Níl mo chroí in aon rud.1 The band say that this record places a greater emphasis on riffs and song structure, as well as bringing more densely layered arrangements. Can this deliver the spellbinding experience I so wanted from this band?

From the first notes of intro “Déistin,” with pulsing electronica and deep, thrumming guitars, it’s clear that Níl mo chroí in aon rud is going to be a different record from its predecessor. And so it proves. Fós has focused not just on song structure but also album structure this time, with an overall flow to the music that strives to match the rise and fall of ní Cholmáin’s voice, which soars and dips and twists. Deftly combining everything from post-doom (“Bádaí na Scadán”) and rumbling drone-adjacent noise (“Táim i mo shuí”) to stripped-back neo-folk (“Molly na gCuach Ní Chuilleanáin”), Níl mo chroí in aon rud is a far more accomplished record than Rinne mé iarraidh. This sense is helped by the fact that ní Cholmáin’s voice is ever so slightly deeper and less ethereal (though no less beautiful) than her predecessor’s. Imbued with a rich silkiness, it somehow blends better with the music than Cadden Patel’s did.

The objective Fós set itself of blending traditional Irish folk singing, with a diverse array of almost-metal styles, was no small task. Yet it is one they have come close to achieving on Níl mo chroí in aon rud. Despite the heavy use of throbbing electronica and thudding percussion, there is a somber beauty and resonance to much of the material here, that leaves me with a deep sense of longing and loss after each spin. The album makes use of interludes (“Trua” and “Maolaitheach”), in addition to the intro, something I am not usually a fan of. However, in situ, these feel both integral and necessary to the album, with “Maolaitheach” bridging well from the fire-and-shadow neofolk tones of album highlight “Molly na gCuach Ní Chuilleanáin” to the bright, buzzing edges of album closer “An Mhaighdean Mhara.”

The change in singer, coupled with much more focused songwriting, has done wonders for Fós. Where Rinne mé iarraidh meandered, Níl mo chroí in aon rud feels focused and purposeful. Still tight at only 37 minutes, the clearer structures feel as though they were written with the vocals in mind, rather than simply acting as a sonic backdrop to them. That said, not everything works, with the first half of “Slán le Maigh” feeling aimless. Still, as the rumbling, distended chords give way to brighter synth work, which recalls Unreqvited in places, Fós recapture the magic they conjure elsewhere. Similarly, the down-tuned groove that dominates the first third of “Bádaí na Scadán” is a somehow jarring way to kick off the first song proper but they settle into their rhythm and these are really the only musical missteps on the album. Were the production better, Níl mo chroí in aon rud could have threatened the score safety counter. Although undoubtedly a step up from the last outing, feeling denser and more textured than the last album, the mix is off. The drums, in particular, are too far forward and feel over-defined, threatening to swallow the vocals in the record’s heavier moments (back end of “Bádaí na Scadán,” for example).

When I saw that Fós was back with a new album, I was genuinely pleased. Despite having dolled out a meager 2.5 last time, I found them genuinely interesting and packed with potential. After nearly four years, I assumed that was last we would hear of them. The fact that Níl mo chroí in aon rud not only arrived but delivered on the promise is fantastic. Fós have done exactly what I hoped they would, better blending the music with the haunting, poignant vocals (even if delivered by a new singer) and I hope we get more soon. Please don’t let Murray do the cover design again. I’m begging you.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: fosmetal.bandcamp.com | facebook.com/fosmetal
Releases Worldwide: January 27th, 2025

#2025 #35 #AmbientMetal #DoomMetal #Drone #Electronica #FiadhProductions #Fol #Fós #IrishMetal #Jan25 #NeoFolk #NílMoChroíInAonRud #Noise #PostMetal #Review #Reviews #Unreqvited

Legendarium – For Eternal Glory Review

By Eldritch Elitist

Powerdeath. That’s the genre tag attached to Legendarium’s fifth album For Eternal Glory, and one I’d almost certainly roll my eyes at, had I not been following this curious project since its debut LP. Through arcane magics of ancient origin1, I became aware of Legendarium, the brainchild of singer, songwriter, and multi-instrumentalist Laurence Kerbov and drummer Stefano Vaccari, in its earliest stages as a charmingly amateurish blend of traditional metal and classic punk. 2022’s Death’s Hand in Yours changed their status quo, not only by amping up their power metal side and introducing death metal elements to the mix, but also by being the first Legendarium record to be legitimately good. For Eternal Glory is their logical next step. Like its predecessor, For Eternal Glory sounds like nothing else in metal. Unlike its predecessor, however, it transcends novelty status.

At its core, Legendarium’s heart is rooted in trad / trve metal, their straightforward rhythms and legato guitar lines rooted in grounded grandiosity. You wouldn’t know it from the introductory riff of opener “A Thousand Swords” though, which claims a tremolo-happy middle ground between Ensiferum and Dissection. This track makes immediate sense of the “powerdeath” tag, one which I find sells the Legendarium experience short. For Eternal Glory is showered with shimmering keys yanked from the 90’s symphonic black metal playbook, and while the occasional blackened vibe rears its head (“Nightfall in the Deep Woods”), the keys more frequently compliment tracks that remind of Manilla Road (“Crypt Crusher”) or Viking-era Bathory (“Tomorrow We Die”). I could namedrop bands all day, but what ultimately matters is Legendarium’s miraculous cohesion. No aspect of For Eternal Glory sounds forced or out of place; everything gels, a unified vision that delights in exploring the connecting threads of countless styles of metal.

A record like For Eternal Glory only works if it manages to be more than the sum of its parts. While that certainly holds true, it inevitably feels something like a jack of all trades, master of none. The experience as a whole is engrossing and addictively catchy, but its steadfast baseline of quality means that there are no surprising standouts. The closest this record comes to throwing a wild curveball comes from the Unto Others-esque goth-pop-metal jam “My Life in Your Hands;” refreshing, but not exactly thrilling. While For Eternal Glory is far and away the superior Legendarium album to Death’s Hand in Yours, I miss the latter record’s big rhythmic and stylistic swings, resulting in odd, delightful surprises, even if they didn’t always work. It’s difficult to justify complaining about the lack of strong highlights, however, on a record with no identifiable weak links. On For Eternal Glory, consistency is king. It’s just missing a certain je ne sais quoi that would elevate it to the same tier as Legendarium’s most prestigious peers.

While my compositional nitpicks are nothing that should turn off prospective Legendarium fans, For Eternal Glory’s vocals may prove divisive. Kerbov’s harsh vocals manifest as shouty death growls, and while I love their distinctly unhinged timbre, his clean singing requires some acclimation. Kerbov’s confidence and control over his clean vocals have improved exponentially with each subsequent Legendarium release, but while his singing is a great fit for the slower, mournful “Tomorrow We Die,” his delivery on the record’s more intense cuts lack the power to be fully compelling. That being said, I find his performances on the whole to be more charming than detrimental, and really, this show is all about his string work. For Eternal Glory is one of those records where there is almost always something interesting happening with the guitars. Massive, effortlessly catchy lead riffs soar above just about every measure of this record, resulting in every single song being stuck in my head at some point during my review process.

For all of Legendarium’s genre-splicing inspirations, For Eternal Glory sometimes feels like an elevated jam session between Kerbov and Vaccari, and I absolutely mean that as a compliment. This record’s rhythmic simplicity forms the ideal platform for Legendarium’s exploratory nature to blossom. While I’d like to hear them further push the boundaries of their aesthetic, I’m also deeply impressed at how they have boiled down so many genres and influences into a formula that can only be described as the Legendarium sound. This is the first Legendarium record that I can easily recommend to basically any appreciator of traditional and melodic metal, and one which I anticipate being the ideal foundation upon which to further refine and propel their sound. And just in case the spectacular album cover did not make it immediately clear: Yes, you should buy this.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: WAV
Label: Fiadh Productions
Websites: legendarium.bandcamp.com | ampwall.com/a/legendarium | facebook.com/people/Legendarium/61559083652568
Releases Worldwide: November 8th, 2024

#2024 #35 #Bathory #Dissection #Ensiferum #FiadhProductions #ForEternalGlory #InternationalMetal #Legendarium #ManillaRoad #MelodicDeathMetal #Nov24 #PowerMetal #Review #Reviews #TraditionalMetal #UntoOthers

Fourth Dominion – Diana’s Day Review

By Iceberg

August promo-picking gets weird around the Sump, weird enough even for this reviewer’s detritus-sifting sensibilities. But the sophomore album from Rochester, NY’s Fourth Dominion stood out to me for two reasons. First: a quietly stunning, lovely piece of album art. Secondly: the multiple genre drops of gothic metal, post-punk, and a peculiar term new to me: “deathwave.” Lead vocalist and primary songwriter Meadow Wyand seems to have coined the term to describe the burgeoning gothic/alt-metal scene, a style encapsulated by the much-loved moniker Chameleons, Unto Others. That comparison, along with a bevy of other name drops that we’ll get into below, was enough to get me on board the dark, melancholy pagan train of Diana’s Day.

The image conjured up by the term deathwave—a blend of dark metal and new-wave—is fitting for parts of Diana’s Day, but that doesn’t reveal the whole picture. There’s a lot of infectious punk and post-punk energy here, blending the fuck-you attitude of Hole with the ‘80s strut of Siouxsie and the Banshees. While Wyand channels the dry, droning vocal styles of The Cure and early ‘00s AFI, the rest of the band plows ahead with NWoBHM laced riffs (“From Below,” “Hill of Swords”) and more mid-tempo Untoothers swagger (“Lilim,” “Goetia”). The production here deserves mention, punching well above its weight. There’s a pleasant, crackling quality to the bass guitar throughout, lending drive and texture to the instrumental breaks (“Bloodstains,” “Lilim”). The roomy master with a DR 9 lets all the layers of guitars—which are bountiful—sit in their own corner of the sound world, rewarding repeat listens. What starts off sounding like a standard punky garage band record reveals layer after layer, something unexpected given the musical style presented.

Fourth Dominion write tight, punchy goth rock songs that aim to smack you in the mouth and get out before you can react. Tracks are lean and cut to radio-friendly proportion, generally consisting of an intro, verse-chorus pattern, bridge and outro. Trimmed-down structures like this tend to be over-reliant on their choruses for memorability, and the band manage to deliver some strong ones (“Burn the Prisons,” “Hill of Swords,” “Casca Dreaming”). The guitar leads, when they crop up, are of note and well executed, hearkening back to the NWoBHM influences (“Lilim,” “Her Wings”). A compelling trio of songs closes the album, leaning heavily on picked acoustic guitars, forming a kind of reflective, ballad-esque triptych. Combined with the raucous, off-beat energy in the center of “Her Wings,” this trio shows a completely different side of Fourth Dominion, which unfortunately makes for something of a lopsided listening experience.

There are still formidable obstacles standing in the way of Fourth Dominion delivering a great entry in the goth-rock pantheon. Truth be told, I believe Meadow Wyand’s vocal delivery is going to be a make-or-break point for many listeners, and it depends on your tolerance for the punk, post-punk style of singing. Her earnest, lyric-driven style is on brand with the band’s new-wave/gothic roots, but the combination of a siloed, upfront mix and a focus on a pitched, mid-range performance weakens many of the tracks. When she reaches into her higher register (the final chorus of “Bloodstains”) or lower (“Lilim,” “Death in Fall”) she delivers her most convincing performances. The aforementioned slim song structures devolve into repetitive forms as the album continues, and the variety found in “From Below” or the very groovy “Tormenta Purgatoria” would pay dividends spread throughout the record.

Diana’s Day takes some getting used to, but once acclimated, and upon closer inspection, there’s a breath of fresh air contained in here. It’s clear Wyand poured her heart and soul into the lyrical content of this album, and the impact of the closing tracks speaks volumes about the shared human experience of trauma and release. I think with a renewed focus on their strengths (guitar leads, variety of structure) and a better mix/variety for Wyand’s vocals the band would find a place for themselves amongst the “darkwave” elite. Until that time, I cautiously recommend Fourth Dominion for fans of new gothic metal and punk nostalgia. Something to break up the blasts and brees.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Fiadh Productions
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2024

#25 #2024 #AFI #AmericanMetal #DianaSDay #DoomMetal #FiadhProductions #FourthDominion #GothMetal #Hole #Jul24 #NWOBHM #postPunk #PunkRock #Review #Reviews #SiouxsieAndTheBanshees #TheCure #UntoOthers

Bull of Apis Bull of Bronze – The Fractal Ouroboros [Things You Might Have Missed 2023]

By Dear Hollow

Last we encountered Bull of Apis Bull of Bronze, they dwelt in relative obscurity, creating a dark marriage of ritualistic atmospheric black metal and unabashed social platforms – anti-fascist and anti-capitalist – in the Colorado trio’s debut Offerings of Flesh and Gold. The trio has since sharpened and solidified their stance, that the act exists “as a knife pointed to the throat of any who seek to maintain oppressive systems of white supremacy and fascism that continue to fester in our societies.” Lyrics are layered with the occult, furthermore enhancing the obscure sound they proffer. Pulsing percussion, patient ambiance, thunderous doom, and cathartic explosions of vicious black metal are all fed through the jaws of ritualism in sophomore effort The Fractal Ouroboros – even more so than its predecessor.

Bull of Apis Bull of Bronze manages to create a mammoth hour-and-fifteen length that takes its precious time before crushing your soul with calculated second-wave intensity. The swell and lull of its atmosphere has its time and place, thus lending The Fractal Ouroboros its immense but supremely organic feel, each track moving fluidly among its influences and giving each track a unique identity to fuse into the tapestry of the album’s pitch-black palette and atmosphere – dark and unholy places constructed under godlike suns. Tracks like opener “Trophy,” “Suffocate O Earthen Lungs; They Now Lungs of Ash,” and closer “Ekstasis, Enstasis, and The Fractal Ouroboros” feature pummeling black metal passages, sinister atmosphere, and minimalist passages of plucking and thunderous percussion, giving climax and violence to the dense ambiance.

Because the album takes its time at well over an hour, the atmosphere must be front and center. Bull of Apis Bull of Bronze does not disappoint in this regard, weaponizing an array of synth tricks to concoct such a relentlessly dark aura throughout. “A History of Cages and Broken Bones” and “Our Overt Apocalypse” are mammoth tracks of jolting doom and scathing tremolo that crash through the thick ambiance, while fiery vocals guide the movements. The quiet climaxes of “Annihilation” and “Liberation Ritual” showcase the stolen weight of the darkness, dwelling heavy and dense smoke-filled atmosphere, existential dread coursing through every fiber of the slow-burning movements. The ambient swell of the former transitions neatly into the shamanistic drumming of the latter, constructing a darkened tabernacle that feels more authentic and human, a whisper, than its explosive tendencies.

While Offerings of Flesh and Gold was an immensely promising offering, Bull of Apis Bull of Bronze becomes another beast entirely with The Fractal Ouroboros. The trio previously dwelt in dark atmospheres, pulsing percussion, and second-wave expressions – a powerful but relatively predictable album of atmospheric black metal. However, tracks like “Suffocate O Earthen Lungs; They Now Lungs of Ash” and “Annihilation” blindside listeners with an animalistic ferocity and shimmering fury that contrasts with the tidy spiritual trademark of shamanism that pervaded their last album. While its message is anything but obscure, the dichotomy of its activism and its maddening take on black metal ensures that inequality and injustice will not be left unpunished. Had The Fractal Ouroboros been given an earlier release date, it would have listed everywhere, because it cements Bull of Apis Bull of Bronze as one of the most dangerous acts in contemporary black metal.

Tracks to Check Out: ”Suffocate O Earthen Lungs; They Now Lungs of Ash,” “Annihilation,” “A History of Cages and Broken Bones”

#2023 #BullOfApisBullOfBronze #Dec23 #FiadhProductions #TheFractalOuroboros #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2023 #VitaDetestabilisRecords

"Resolve to destroy what destroys us... Destroy all systems of oppression!" In other words, the new #TumultuousRuin is out! ⚔️🔥🖤❤️🏴✊

https://tumultuousruin.bandcamp.com/album/an-abscess-on-the-heart-of-the-state

#BlackMetal #RABM #AntifascistMetal #AnarchistMetal #RawBlackMetal #AnAbscessOnTheHeartOfTheState #DestroyAllSystemsOfOppression #ABMN #FiadhProductions #VitaDetestabilisRecords

Anthology II by Crooked Mouth

I'm still feeling my way with neofolk. Thoroughly enjoying this (as much as one can, it's not the happiest music) while stuck in grinding traffic. Also nice hearing songs about sun worship when it's -9° celsius.

https://fiadh.bandcamp.com/album/anthology-volume-ii

#music #fiadhproductions #crookedmouth #neofolk