Mastodawn

#NowPlaying the recent album "Shadows of the Dying Light" by the band #Sarayasign from #Sweden

#HardRock #MelodicMetal #AlbumsOf2025

Personal Rating: 9 / 10

Recommended Tracks: "From Ashes", "Watching it burn away", "Shades of Black", "Shadows of the Dying Light", "Worlds apart (Shadowlands)", "Coming Home", "The Wanderer", "Walk alone", "One Last Cry", "Bleeding Hope"

https://sarayasign.bandcamp.com/album/shadows-of-the-dying-light

FinbarrF Nov 2

Today's music:

Khan Huleg "金鸡玉兔"

https://youtu.be/McjhQmZ_gJU

#metal #MelodicMetal #FolkMetal #Mongolia #music #np #NowPlaying #MastoMusic

Khan Khuleg - "金鸡玉兔" MV [4K]金雞玉兔

YouTube

Angry Metal Guy Oct 29

Serpent God – Denial Review

By ClarkKent

The digital era, where a band can release singles or EPs at a whim, seems to have tossed aside the concept of a B-sides compilation record. These albums consist of tunes that, for whatever reason, just didn’t make the cut on the main LP. This isn’t necessarily because those songs are bad. System of a Down’s Steal this Album! is, in my mind, just as much fun as their regular studio releases, and The Masterplan by Oasis is widely considered one of their best. Denial, the debut from Finland’s Serpent God, owes its existence to such B-side material, albeit from a different band: Se, Josta Ei Puhuta. While Se, Josta Ei Puhuta skews melodic death and thrash,1 after completing their 2022 record, Gehenna, they found themselves with leftover tracks that were too slow and mournful for what that group wanted to accomplish. The songs were too good to just toss away, though. As a result, three members from Se, Josta Ei Puhuta formed Serpent God and decided to unleash nine tracks of melancholic doom upon the sadboi lovers of the world.

While many complain about instrumental openers, “Denial” does a good job of prepping listeners emotionally and musically for what’s to come, with doleful keyboards and guitar licks. However, Serpent God truly establish their ability to pen infectious leads with the two gut-wrenching pieces of melodic doom that follow. “Beneath” evokes My Dying Bride with its combo of sorrowful melodies, slow and thunderous drumming, and vocalist Samu Mänikkö’s low, deep growl (something that becomes more of a rasp on later songs). Just when they’ve gotten you all buttered up, Serpent God then drive a stake through your heart with the lovely melodic lead on follow-up “Repent,” a killer tune that’ll go down as one of the best pieces of doom this year. Both tracks are on the long side, averaging seven minutes, but their progressive structures and shifts in tempo ensure that they remain compelling throughout. With such a great start, you understand why these guys didn’t want to leave these songs in the trash bin.

Serpent God harness all of their tools to try to squeeze tears from their listeners. Along with the evocative melodic leads described above, Mänikkö, who is also the guitarist, creates plaintive refrains using tremolos similar to those played by To Escape and Winds of Tragedy (“Alive,” “Sermon”). Mänikkö’s gently plucked arpeggios provide a reprieve from the heavier material during the bridge (“Repent,” “Revelation”), or as a way to pluck heartstrings from the start (“Beneath,” “Alive,” “Oblivion”). Vocally, Mänikkö shows less variety, largely sticking with his blackened rasps, but occasionally he surprises with cleans that accent the woeful guitar tones. Lush production values help the instruments evoke their melancholic tones, though there are a few questionable choices. The drums and bass lack the oomph of the guitars, but even worse is that nearly every time the keyboards play alone, there’s a distinct and annoying hum in the background.

At 50 minutes, and with most songs in the six-minute range, Denial does start to grow wearying as it approaches its end. While Serpent God do make use of tempo shifts, particularly on the energetic and effective “Sermon,” to break up the dourness of the surrounding material, the final three songs do not live up to the quality of what comes before. They feel like B-sides the band should have cut. These tracks feature awkward riffs, whispers, and spoken word portions—something that plagues other songs as well—that, combined with a lack of strong hooks, leaves the final fifteen minutes underwhelming. The three-minute conclusion, “Void,” ends the album with a series of tinkling, crystalline synths that feel anticlimactic compared to some of the big emotions evoked on prior tracks.

Clearly, the extra stuff leftover from Se, Josta Ei Puhuta’s Gehenna provided plenty of material to record a solid album. With Denial, Serpent God’s three members have proven they can write potent melodies, and they know how to hit you right in the feels. There’s enough quality music on Denial to have written a very good album, if only its arteries weren’t clogged with too much doomy fat and B-side material. It’s a shame, because there are some great songs, and for that, I do think this is worth a listen, even if I don’t recommend Denial as a whole. If anything, they have proven themselves to be a group to keep on your radar.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Inverse Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 10th, 2025

#25 #2025 #DeathDoom #Denial #DoomMetal #FinnishMetal #InverseRecords #MelodicMetal #MyDyingBride #Oct25 #Review #Reviews #SerpentGod #ToEscape #WindsOfTragedy