Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

Kenstrosity’s Knightly Nightmare

AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

This Used To Be Heaven by AngelMaker

ClarkKent’s Sonic Symphonics

Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

COLOSSUS SUPREMA by BRAINBLAST

Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

Escape the Wonderland by Gods of Gaia

Grin Reaper’s Frozen Feast

Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

KEM by Hounds Of Bayanay

Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

Siltskin by Blood Red Throne

Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

Thus Spoke’s Random Revelations

The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

Recursive Infinity by The Algorithm

Owlswald’s Holiday Scraps

Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

Entanglement by Sun Of The Suns

It is well-established at this point that Mongolia is metal as fuck. Who would have thought that a landlocked country with a population of approximately 3.5 million people would have such a significant impact on culture? From the legends surrounding Genghis Khan to the fact that major IPs like Dune and Predator are incorporating throat singing to enrich their soundscapes, Mongolia has had a lasting impact that far surpasses its relatively small footprint. While Mongolian metal isn’t storming the charts consistently, bands like The Hu have seen massive breakthrough success, with hits listened to by a fanbase that dwarfs the population of their native country. Jumping in on the train is a new band from those storied steppes, UUHAI, mixing a similar style of modern music trappings with native instruments like the horsehead fiddle and zhangu drums. With their debut album Human Herds, are they too late to the party? Or do they have just the right amount of originality to differentiate themselves from other breakthrough bands like Nine Treasures, The Hu, and Tengger Cavalry?

UUHAI sits in a space somewhere between the groovy, folksy sound of The Hu and the heavier trappings of Tengger Cavalry. The seven-piece utilizes native instrumentation but implements guitars and modern drums alongside their incredible string work and throat-singing. Human Herds plays out like a Mongolian hard rock hits playlist infused with the spirit of the steppes. UUHAI’s debut focuses on protecting sacred nature and preserving the planet. “Ancient Land” stirs imagery of yawning grasslands and imposing mountains, while “Khurai” has the rhythm of a story told around a fire that leads into an epic adventure. Human Herds is rich with the sounds and emotions of UUHAI’s native land. Juxtaposing the natural aesthetics are the warping riffs on the title track, or the infectious backing rhythm guitar on “Dracula.” The band combines these anachronistic sounds with aplomb, although Human Herds begins to sag towards the back half as UUHAI returns to draw from the same well one too many times.
Human Herds by Uuhai

UUHAI has something special when it comes to crafting Mongolian anthems, and tracks like “Human Herds,” “Dracula,” and “Uuhai” epitomize the best of what Human Herds has to offer. While the theming of the album remains strong throughout, and the quality consistent, it does little to differentiate itself from one end to the other. Songs tend to feature similar chorus stylings, prefaced by throat-singing and bolstered by incredible native instrumentation, but the same formula grows apparent across the album. The production generally captures the richness and quantity of instrumentation on display, but some of the best elements, like the backing riff on “Dracula,” are lost in the mix. “Paradise” shows up towards the end of the album and stands out in a back half that bleeds together. The track’s upbeat, poppy, and borderline saccharine sound is a fun and oddly radio-friendly experience that wouldn’t feel out of place playing in the background at a country bar.

Human Herds is hampered by its repetition, and despite the strength of UUHAI as a unit, it becomes difficult to parse out the differences between certain tracks. Alongside that, some of their sound comes dangerously close to what The Hu has already established, and can feel more like a direct copy than inspiration at the worst of times. While The Hu never quite goes as hard as UUHAI (not that either band is particularly heavy), they have varied and unique song structures in a way that Human Herds can’t contend with, making the comparison even less flattering. With such a unique sound, the genre gets crowded quickly, and bands like Nine Treasures and Tengger Cavalry present more variety, and in the latter’s case, a much heavier sound. Human Herds is cohesive if tired by the end, but it makes for wonderful ambient music, which I mean in the most positive way. While it won’t wow you from moment to moment, it accurately captures the mood and aesthetic of UUHAI’s native land in a way that is unique to them.

Human Herds is a solid debut from a promising band, and there is a lot to like here, especially for fans of hard rock and Mongolian music. While the album strains in the back half, I imagine I will still be spinning it as mood music in the weeks to come, and UUHAI’s hard rock stylings help make a space, however small, for themselves alongside similar bands. It won’t have you storming the Great Wall, but it may leave you pondering your place on Mother Earth.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: A STREAM DAMMIT
Label: Napalm Records
Websites:uuhaiband.com | instagram.com/uuhaiofficial
Releases Worldwide: January 9th, 2026

Arka’n Asrafokor – Dzikkuh Review

By Dear Hollow

Despite comprising 20% of Earth’s land mass, Africa is sorely underrepresented in metal and worldwide music. Though subject to centuries of oppression and colonization, the influence can be felt internationally, but its unique cultural voices are sorely lacking. While Egypt is stalwart in its evocative depictions of ancient civilization (Scarab, Lycopolis), you’d be hard-pressed to find the music of Togo without some serious digging. Based in the capital city of Lomé, what seems to be the only Togolese metal band, Arka’n Asrafokor offers its sophomore effort Dzikkuh.

Arka’n Asrafokor embodies another interpretation of lesser-known and underrepresented native folk music utilized in hard rock and metal styles, following acts like the Māori Alien Weaponry, Polynesian Shepherds Reign, Hindi Bloodywood, and Mongol The Hu or Tengger Cavalry. You won’t find Jacoby Shaddix showing up as a rock feature in Dzikkuh, but instead a much more punishing breed pervades, chuggy riffs colliding with blistering double bass and vocal intensities throughout. Riffy influences of Alien Weaponry, Sepultura, and Pantera run rampant, layered with percussion, melodies, and motifs from the band’s native Ewe culture. When the quintet embraces the brutal and balances it with more warfaring tendencies,1 Arka’n Asrafokor accomplishes something truly powerful.

The backbone of Dzikkuh, like any good folk metal, is chunky rhythmic guitar, and guitarist Rock Ahavi is in no short supply of groovy riffs. Utilizing a seven-string, expect wonky rhythms, thick slogs, nimble noodling, and pinch harmonics galore chucked at the listener with reckless and energetic abandon, while the rumble down under from bassist Francis Amevo and blistering double bass and rabid beats from drummer Richard Siko add to the intensity. Vocalist Enrico Ahavi offers raspy barks and sporadic raps that add a jolt of intensity, while percussionist Mass Aholou offers a plethora of native instruments.2 When the act’s heritage in Ewe tribal warrior motifs are used to enhance Arka’n Asrafokor’s groove-metal assault, like layers of percussion and Rock Ahavi’s soaring battle cry-like cleans and grunge-inspired howls, tracks like “The Truth,” “Walk With Us,” “Angry God of Earth,” and “Home” expertly blend punishment and evocative tribal elements in adrenaline-pumping intensity reminiscent of Alien Weaponry. “Mamade” is the clear highlight, with recurring tribal motifs of percussion and melodies adding further weight to the crushing intensity through its bulletproof dynamic songwriting.

When Arka’n Asrafokor’s teeth are gritted with blistering heaviness, Dzikkuh hits like a bomb. When they slow things down, they sound a bit like a toothless Five Finger Death Punch. While Ahavi’s grunge rumble enhances the attack in songs like “Final Tournament” and “Angry God of Earth,” they lose their impact when utilized excessively, making “Still Believe” and closer “The Calling” revel in dad rock-inspired cringeworthy melodrama. Elsewhere, while intensity is generally best, tracks “Not Getting in Line” and “Asrafo” nearly fly off the rails with an almost mathcore wildness in rhythmic complexity, made stranger by unprecedented rapping vocals, although usage adds a certain desperation to “Home.” Tracks “Not Getting in Line” and “Angry God of Earth” feature awkward tonal shifts, like jarring bridges of silence between passages as well as weird shifts between clean choruses and harsh verses. Also, although unmatched in animalistic intensity, Enrico Ahavi’s raspy and smoky barks can be an acquired taste in tracks like “Home” and “The Truth.”

Being the only metal act in Togo, Arka’n Asrafokor had to record their albums in a tiny makeshift studio outside of Lomé, and the solidness of Dzikkuh pays off mightily as a labor of love. While it ends on a bit of a sour note with “The Calling” and there are some wayward hiccups throughout, this does not discredit cuts like “Walk With Us” and “Mamade” from being unique and pummeling tracks that add a new chapter to the growing body of ethnic voices in today’s metal. Technical without being too flashy to focus on the act’s native elements, each member contributes heartily to an act of passion and power. Reflecting roots in tribal warrior customs, Dzikkuh is a formidable album from an act with only more to offer going forward – a bold representative of a continent too often neglected in metal circles.

Rating: 3.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 24th, 2024

#2024 #35 #AlienWeaponry #ArkaNAsrafokor #Bloodywood #Dzikkuh #FiveFingerDeathPunch #FolkMetal #GrooveMetal #HeavyMetal #Lycopolis #May24 #Pantera #ReigningPhoenixRecords #Review #Reviews #Scarab #Sepultura #ShepherdsReign #TenggerCavalry #TheHu #ThrashMetal #TogoleseMetal

[This guest post was written by frozen about number 647 on The List; the album was also submitted by frozen.]

What if Mongolian folk music, but it were metal? Well, Tengger Cavalry was one possible answer. While both genres are great in their own right, Tengger Cavalry’s music is neither electronic folk nor simply metal with throat singing. Instead, this is a musical landscape where a guitar and a morin khuur can trade leads – and it fits. The rhythm is powerful and driving, on the drum kit and off. You can almost see the horses galloping across the steppe.

While on this release Tengger Cavalry was the one-person project of Nature Ganganbaigal, they would add other members for later albums and live shows. The project disbanded in 2019 following their death.

• Bandcamp: Tengger Cavalry – Sunesu Cavalry
• Discogs: Tengger Cavalry – Sunesu Cavalry
• Encyclopaedia Metallum: Tengger Cavalry

[Alt text for accompanying image: The artwork is a painting of a Mongolian warrior on a horse that is rearing up on its hind legs, with a smoky red/orange background. The warrior is wearing armor and holding a sword that shines very brightly, and the horse has decorative metal skulls around it. The band name is written in white font on top of the horse’s legs, and the album name is in smaller font on above it.]

https://1001otheralbums.com/2024/03/12/tengger-cavalry-sunesu-cavalry-2012-mongolia-china-us/

#1001OtherAlbums #2010s #China #folkMetal #heavyMetal #Mongolia #NatureGanganbaigal #TenggerCavalry #throatSinging

#MongolianFolkMetal #Tsadig #DelhiiDeerSaatahZuur

Erinnert ein bißchen ein #TenggerCavalry oder #Suld , teilweise mehr melodielastig und spacig

https://tsadig.bandcamp.com/album/delhii-deer-saatah-zuur

At the moment I´m very addicted to #MongolianFolkMetal !

f.e. #TenggerCavalry #Suld #NineTreasures

Who knows more of this genre?

@fragment I love this band! Really solid stuff. Highly recommend #tenggercavalry as well. Similar idea. Slightly different style.

https://tenggercavalry.bandcamp.com/album/northern-memory-vol-1

War Horse #TenggerCavalry

https://tenggercavalry.bandcamp.com/album/war-horse

https://tenggerxcavalryrecordings.bandcamp.com/album/sound-of-the-raging-steppe

#Asian #metal #sampler #Suld #Sintas #Nan #Liberation NineTreasures #TenggerCavalry #Mongol