MAMMON'S THRONE - My Body To The Worms [FULL ALBUM] 2026

https://peertube.gravitywell.xyz/w/6G31BSEXRT4ZSuJWG82WW9

This stunning debut comes to us via members from across the globe—from England to Spain to Czechia to Brazil. Despite somewhat limited experience between them, the sextet plays like they’ve been jamming together for decades. They bring an eclectic range of styles from their previous and current bands, from black metal to scatological heavy metal to melodic doom to gothic metal, in order to craft a gentle yet brutal piece of gothic doom metal. I would like to give a warm welcome to Opia and their powerful debut album, I Welcome Thee, Eternal Sleep.

Opia deftly balances the gentle with the crushingly heavy, resulting in a record of beautiful melancholy that would make My Dying Bride and Swallow the Sun proud. They achieve this with a dichotomy of soft arpeggios and heavy riffs, of tender cleans and harsh growls. This dichotomy amplifies the melancholic power of the music, and there’s an undeniable satisfaction when a song suddenly grows loud and brutal following a softer stretch. We hear this on tracks like “Days Gone By,” which opens with some nifty fretwork before exploding into heavier riffs. Opia flexes their true muscle on masterpieces like “Man Proposes, God Disposes” and “Silence,” where Tereza Rohelova’s cleans croon a melancholic melody before delving into such despairing heaviness that it’ll have you aching from the hurt. The similarly astonishing “The Eye” flips the melodic element on its head with a chorus where Rohelova’s growls deliver the beauty over top a soaring keyboard part.

I Welcome Thee, Eternal Sleep by Opia

As great as the compositions are, the heartfelt performances by all musicians elevate the material. As frontwoman, Rohelova sets the tone with an electrifying performance on the level of My Dying Bride’s Aaron Stainthorpe. Her cleans take on a haunting quality that adds a touch of the gothic, and while her growls don’t reach the muscular tone of Stainthorpe, they are nonetheless effective in setting a tone of brutality. The dual guitar work from Phoenix Griffiths and Dan Tregenna also dazzle. Their fretwork is so effective and creative, whether it’s the mellower arpeggios or crushing riffs, that there’s never a dull moment or a lull. Marcelo Teixeira, behind the kit, is also solid. He swaps between gentle drum and cymbal taps to pummeling blast beats on a dime. He really goes all out on a climatic moment on the finale, “On Death’s Door Part II,” that’ll leave you breathless. Important to setting up the gothic tone is keyboardist Jorge Afonso Rodriguez, who adds melodic depth as well as atmosphere. There’s a depth to the songwriting that opens up rewarding new avenues every time I give the record another spin.

Having been released in late April, I missed out on the opportunity to review I Welcome Thee, Eternal Sleep by just a few weeks. But when I first heard it, I knew it was special enough to save for a TYMHM. A debut this powerful should not be missed, and having spent this extra time with it late in the year, I believe I made a mistake by not including it in my end of year list. This is a promising start for a group who, I hope, continues to craft songs together for a long time to come.

Songs to Check Out: ”Man Proposes, God Disposes,” “The Fade,” “The Eye,” “Silence

Old School Swedish Death Metal!!!

IMPURITY- 'The Eternal Sleep' by @impurityofficial & @hammerheartrecords666

#linsedunemanninen
#impurity
#hammerheartrecords
#deathmetal
#oldschooldeathmetal
#swedishdeathmetal
#metalpunksteel
#speedmetalpunks
#metal
#heavymetal
#vinyllover
#vinyllovers
#vinyl
#greenbeast
#försterplayer
#försterspieler
#projectdebutcarbonevo
#harz
#einharz
#harzmountains
https://www.instagram.com/p/DP62lxLDBUE/?igsh=MTZqNTc3OTBwdWludQ==

VINTERSORG - 'Vattenkrafternas Spel' by @vintersorgofficial & @hammerheartrecords666 _ #Review _ @twilight_magazin

https://www.twilight-magazin.de/reviews/musik-review/vintersorg-vattenkrafternas-spell

#linsedunemanninen
#twilightmagazin
#vintersorg
#hammerheartrecords
#blackmetal
#folkmetal
#progressivemetal
#metal
#heavymetal
#metalpunksteel
#speedmetakpunks
#intensemusic
#harz
#einharz #harzmountains
https://www.instagram.com/p/DPHA-GnjIZx/?igsh=b2M5OXpjdWtlZjBi

Vintersorg – Vattenkrafternas spel Review

By Dr. A.N. Grier

Many moons ago, I stumbled upon the 2001 Borknagar release, Empiricism, having never heard the band before. While that opened the floodgates that ultimately resulted in my absolute admiration of that band, it was also the album that introduced me to lead vocalist Vintersorg. While many would argue that Borknagar has better albums and better lead vocal contributions from artists like Garm and I.C.S. Vortex. Regardless of preferences and the flavor you seek, Vintersorg’s voice stung me and forced me to explore the man’s solo career. Similar in approach to Borknagar, Vintersorg injects far more of the Viking folkiness than Borky. While both are ultimately progressive, Vintersorg is not afraid to tinker with some strange influences and bizarre keyboard atmospheres. At one point, a song grooves without much deviation, and the next, you haven’t a fucking clue what’s going on. Like any band, not all of it works, but Vintersorg is a solid outfit that, if you’re into the style, never lets you down.

This year brings Vintersorg’s eleventh release since debuting in 1998. Which is fucking wild, making them one of the most prolific of the style. Yet, this is the longest we’ve waited for a new release in the band’s entire existence. After releasing the sequel to their debut record in 2017, things have been quiet on the Vintersorg front. But now they are back with Vattenkrafternas spel sets out to take that same infusion of the Vintersorg of old with the Vintersorg of new that we heard from Till fjälls del II. Which I can’t complain about, considering I love it when the band knocks out some of those nasty black metal licks. Not that they have abandoned those influences in the last decade or so, but it’s a touch more prevalent on Vattenkrafternas spel. But, how far will they go, and how well will it work?

“Efter dis kommer dimma” gets the album going right away, delivering that classic Vintersorg sound I love. Ripping through a simple black metal riff, encased in Vintersorg’s traditional oooo’s and aaaah’s, it charges ahead waiting for the harsh vocals to body slam it. They do for a bit before the gorgeous, clean vocals take over. Toss in some circusy key work and the introduction of some female vocals in the powerful chorus, and we have a fitting opener to this new record. “Malströmsbrus” is another highlight, utilizing a similar pace and vocal performance but with far more of the band’s signature folkiness. Particularly when it comes to Vintersorg’s unique vocal diversity that I can only describe as Viking “yodeling”. Like the opener, “Malströmsbrus” features a memorable chorus that alternates between harsh and clean vocals, but it takes a dark turn in the back half. While the drums and guitars fight to keep the sinister passage alive to the end, they finally succumb to the beauty of the chorus to conclude the track.

While the keys have a presence in these two tracks, they dominate “Ur älv och å” and the closer, “Ödsliga salar.” Orchestral keys introduce the track before the drums and guitars join in the fun. After folking things up, the band transitions into a tasty riff with big fucking vocals that continue to rise until the chorus soars. But like “Malströmsbrus,” dark clouds form as the song drags the listener through fever dreams before soaring to the clouds and “yodeling” the hell out of your soul. But the closer takes it all to its limits. The orchestral parts are almost too big at times, creating an odd, overpowering effect on the rest of the instrumentation. But it still works, unlike the song’s predecessor, “Skyrök,” which goes on far too long, with orchestration that is almost comical at times. Yet, this song still tosses in everything but the kitchen sink, overlaying clean vocals with harsh and guttural barks, supporting Viking chants, and, for better or worse, a guitar/keyboard solo duel.

Like “Skyrök,” “Från djupet dunstar tiden” is another that tries too hard. Instead of a bunch of keys and orchestration that becomes overwhelming, it’s the interpretation of the sleek piano piece by the drums and guitars that makes things weird. Toss in some circusy keys and Vintersorg’s odd vocal approach, and the song’s back half loses my interest. But these issues don’t cripple the album, and the overall flow is pleasing. And, unlike some of the complaints on this site about more recent Vintersorg records, you will not see a DR4 for Vattenkrafternas spel. While Hammerheart Records refuses to send a promo with a higher bit rate, at least the DR7 helps a bit. Specifically, when it comes to the rumbling bass in the closer. In the end, Vattenkrafternas spel is another solid outing from the band, and I’m glad to see them back after eight long years.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kb/s mp3
Label: Hammerheart Records
Websites: vintersorg.bandcamp.com1 | facebook.com/vintersorganic
Releases Worldwide: September 26th, 2025

#2025 #35 #BlackMetal #Borknagar #FolkMetal #HammerheartRecords #ProgressiveMetal #Review #Reviews #Sep25 #SwedishMetal #VikingMetal #Vintersorg

Jord – Emellan Träden Review

By Killjoy

Jord began life in pretty much the exact way one would expect of an atmospheric black metal act. Founder Jörgen “Jurg” Ström would take daily walks through the forests of Sweden during fall 2020, during which he decided to start a nature-oriented musical endeavor. He quickly released two albums, Sol and Måne, on his own before recruiting guitarist Sebastian “Hravn” Svedlund and drummer Stefan Jansson, both of whom he had briefly performed with in Rimfrost and its splinter group Omnicidal. They worked together to create Tundra in 2023, and now look to extend their productive streak with Emellan Träden, Jord’s fourth full-length record in five years.

Jord is a sharp change of pace from the rowdy Rimfrost and Omnicidal, but by no means an unwelcome one. The earlier material that Jurg composed while living a nomadic van lifestyle is a faintly blackened post-rock, suggesting that he mainly listened to Alcest’s Kodama while driving. Emellan Träden retains a similar, albeit more refined, sound. Jord splashes in the same honey-sweet mountain lake as Einvigi or Vorna, the melodies steeped generously in the emotive splendor of Eneferens. The new band members appear to have brought more urgency and heft to Jord. Riffs are more plentiful and Hravn takes every opportunity to erupt in a lively guitar solo. Jansson’s drum beats are more forceful, pairing well with a bass tone that’s crunchy like crisp autumn leaves on the ground.

At first, Emellan Träden may seem more homogeneous than it actually is. Closer attention reveals ample variety, but more in the placement of the building blocks rather than the blocks themselves. For instance, the piano is central to Jord’s sound. Its simple yet wistful melodies underpin several songs (“Stay,” “King of the Night,” “Prinsessan Och Hästen”) in a manner like unto Kauan or Weltenbrandt. Jurg’s vocals are mainly a gravelly growl with a good amount of bite, but in “Stay” he adopts a sharper, rhythmic tone somewhat analogous to Vincent Jones (Æther Realm). His voice serves as an effective contrast with the female singing1 in “Hon Kallar,” which, when paired with a violi,n casts a hearty folk glow. Emellan Träden could have benefitted from a few more moments like this.

Emellan Träden strikes a decent balance between tranquility and heaviness. Jord seems most comfortable with a mid-paced tempo, where the emotional songwriting can shine brightest. The slight over-reliance on this trait might fall a bit flat for some listeners, but when Jord gets it right, the results are efficacious. “Vid Muren” starts off slow as an acoustic guitar intermingles with the electric, then gradually ramps up in velocity and intensity, culminating with a brisk guitar solo that could have sounded out of place without prior setup. Hravn’s soloing is one of the highlights of Emellan Träden, and “Den Brandgula Salen” in particular has the fingerprints of Rimfrost’s Expedition: Darkness all over it. The overall flow of Emellan Träden isn’t perfect, and at times a little jerky, but it’s nonetheless a treat to listen to as a whole.

While Jord’s origins may be stereotypical, its output quality is considerably above average. Emellan Träden is perhaps not the most original post-black record, but it’s among the better-executed ones I’ve heard in the style. Refreshingly, the melancholy and somberness are more of a tool than an end goal. The piano is a simple yet pleasant touch that goes a long way toward helping the music feel inviting. Emellan Träden is very good, but it feels like it’s missing that last little oomph of vitality to become great. Even so, it’s my idea of a perfect album to kick off this fall season.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 192 kbps mp3
Label: Hammerheart Records
Websites: jord-northernsilence.bandcamp.com | facebook.com/jordsounds
Releases Worldwide: September 5th, 2025

#2025 #35 #Alcest #AtmosphericBlackMetal #Einvigi #EmellanTräden #Eneferens #HammerheartRecords #Jord #Kauan #Omnicidal #PostRock #PostBlackMetal #PostMetal #Review #Reviews #Rimfrost #Sep25 #SwedishMetal #Vorna #Weltenbrandt

VINTERSORG – Vattenkrafternas Spel
https://eternal-terror.com/?p=72316

RELEASE YEAR: 2025BAND URL: https://www.facebook.com/vintersorganic/

The first time I came across Vintersorg main man Andreas Hedlund’s fabulous singing was when I saw Borknagar perform live in Aalborg, Denmark, on the back of their splendidly melodic Quintessence album in what seems like another lifetime. But that was then, this is now, and the first new material by Vintersorg since 2017’s […]

#atmosphericBlackMetal #blackMetal #BORKNAGAR #folkMetal #folkMusic #folkRock #HammerheartRecords #otyg #progRock #vintersorg

Stuck in the Filter: May 2025’s Angry Misses

By Kenstrosity

Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!

Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!

Kenstrosity’s Meanest Meanies

Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]

Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.

Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]

West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.

Thus Spoke’s Shiny Scraps

Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]

DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.

ClarkKent’s Bestial Beats

Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]

While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.

Owlswald’s Feathered Echoes

Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]

After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.

Killjoy’s Dreamy Delights

Asthénie // Iridescence [May 5th, 2025 – Self-Release]

Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.

Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]

Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.

Dolphin Whisperer’s Dusky Deposition

Slumbering Sun // Starmony [May 9th, 2025 – Self Release]

Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.

Tyme’s Tragic Tones

Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]

Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.

#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_

Entrails – Grip of Ancient Evil Review

By Saunders

Rooted in the fertile graveyard turf of the Swedeath golden years, veterans Entrails occupy an interesting place in the revivalist old school Swedish death metal scene. Originally conceived in 1990 by sole original member Jimmy Lundqvist, the band lay dormant until Lundqvist resurrected the outfit with new bandmates in tow, unleashing a couple of long-gestating demos before eventually releasing their impressive debut Tales from the Morgue in 2010. Entrails started out strongly, backing up the debut with gnarled, grisly platters of throwback Swedeath goodness, courtesy of 2011’s The Tomb Awaits, and 2013’s Raging Death. A solid, if unremarkable holding pattern largely ensued during the intervening years, the band not dropping the ball, yet failing to rise to the loftier standards of their early work. Still, when done well, old school death of the Swedish variety is like metal comfort food, and these dudes are consistently reliable. Can eighth opus Grip of Ancient Evil shake off the rust and reinvigorate Entrails to their potent glory days?

Listeners should not expect any drastic reinvention or innovation from these meat & taters brawlers. Influences are tattered and worn, as Grip of Ancient Evil sets the buzzsawing tone early in the piece, essentially a modern continuation of the classic Swedeath sound inspired by scene legends, Grave, Dismember and Entombed. Entrails’ steadfast dedication to their old timey craft has served them well; however, the dreaded Law of Diminishing Returns threatens to derail their reliable track record deep into their career. After an unnecessary though obligatory scene-setting opener, “Untreatable Decay” kicks the album in proper. The song forms the blueprint of the Entrails sound, unleashing thunderous rhythms, tasty leads, and HM-2 armored riffage to bludgeoning effect.

Chunky tones are on point, riffs suitably beefy, while the mix of tempo shifts, thumping grooves, and requisite spooky, horror-themed atmospheres cast a familiar shadow across the album. New vocalist Julian Bellenox (Nazghor, Morphetik) fits the part, providing an authoritatively punchy rhythmic point of difference. His hoarse, throaty growls lend a brutal edge and thickness to the already meaty material. Otherwise, it is largely business as usual in the Entrails camp. The album’s darker, nastier vibes, infectious hooks, and more direct, punchy attack breathe welcome life into this long-standing, rotting entity. Grip of Ancient Evil features many of the expected traits of the classic Swedeath style; however, Entrails sound reinvigorated and urgent. Aptly titled “Skin ’em All” rips you a new one, relentlessly tearing through thrashy soundscapes, headbangable grooves, and gruesome, Bloodbath-esque terrain. Other noteworthy prime cuts include the doom-laden, dynamic shifts and anthemic hooks of “Hunt in the Shadows,” rugged, leaden riffage and punishing grooves on “Fed to the Dead,” and thrashing, urgent pummel of “Wings of Death.”

Not everything is safe and predictable. Barnstorming closer “Consumed by Insects” shifts surprisingly into a brief acoustic break, an odd though refreshing twist. Meanwhile, guest vocalist Per “Hellbutcher” Gustavsson (Friends of Hell, Nifelheim) lends a feral, blackened edge to the brooding “Inner Demon.” Performances are dependably solid from a line-up that remains fairly steady amongst the regular line-up upheavals plaguing the band. Bellenox is a refreshing addition, while band leader Lundqvist remains the pivotal focal point and songwriting chief, unleashing an extra beefy collection of buzzsaw riffs and some genuinely catchy death metal anthems. Packing a hefty wallop, the boisterous rhythms of Arvid Borg (drums) and Benjamin Andersson (bass) form a sturdy rhythmic backbone, coupled with a dynamic, crisp, though appropriately burly production, A solidly engaging listen, featuring a handful of cut above tunes, Grip of Ancient Evil remains a relatively safe listen, a step up from the previous album, but unable to match the band’s superior early work. Meanwhile, extra grime to dirty up their rather sanitary sound profile may have created a rustier edge and grittier sound.

Locking tightly into the confines of their established sound, Entrails refuse to budge from their old school ethos. While a predictability permeates each release, Grip of Ancient Evil features a little more pep and energy, ravenous hooks, and chunky, brutal edge to please longtime listeners and potentially reel in some new devotees. Nothing mind-blowing here, but Entrails reaffirm their status as an endearing, reliable force in the nostalgic old school Swedeath market, with an addictive, bone-crushing collection of grisly gems.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Hammerheart Records
Websites: entrails666.bandcamp.com | facebook.com/entrails666
Releases Worldwide: July 18th, 2025

#2025 #30 #Bloodbath #DeathMetal #Dismember #Entrails #FriendsOfHell #Grave #GripOfAncientEvil #HammerheartRecords #Morphetik #Nazghor #Nifelheim #OldSchoolDeathMetal #Review #Reviews #SwedishMetal