AMG’s Unsigned Band Rodeö: Nephylim – Circuition

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Oranjeboom, a low-frills lager, holds little love in its home country of the Netherlands, so much so that its production there was discontinued until only recently.1 Why does that matter? It really doesn’t, but it is a fun fact about the Netherlands and a beer synonymous with their lineage. Nephylim hails from the Netherlands too, and, with any luck, their brand of big scope, big sad melodeath will stake a claim that lands with bolder flavor. Over the past ten years, this five-some has cut an EP and a full-length through their own determination. And now, with this sophomore follow-up Circuition, Nephylim may just be hitting their stride. Or, at least, our Rodeö crew seems to think so. Crack open a cold one and sip on riffy sadness. – Dolphin Whisperer

Nephylim // Circuition [March 7th, 2025]

Steel Druhm: Sometimes when you press play on a Rodeö candidate, you wonder why they aren’t signed because they sound so polished and professional. Such is the case with Dutch melodeathsters, Nephylim, and their sophomore opus, Circulation. Taking cues from Ominium Gatherum, Be’Lakor, Enshine, and the more progressive works of Edge of Sanity, Nephylim voyage across various styles of melodeath but always keep things anchored firmly in the Wheelhouse of Steel. After a beautifully regal instrumental opener, Circulation heats up on “Travail Pt. 2 – Animus,” which is like a glowing distillation of Wolfheart and Be’lakor with a seriously epic vibe coursing through it. The guitars riff, trill, and shimmer with a Tuomos Saukkonen-esque flair as grand orchestrations amplify the sound to herculean proportions. It’s the beast of death metal with the beauty of melancholic music, and this style has a proven appeal. I love the majesty of “Grand Denial” and the hints of Dark Tranquillity woven throughout, and the title track bears traces of Dan Swanö’s Moontower and Tomi Joutsen-era Amorphis as it seamlessly melds heavy and sadboi moments. Unfortunately, not every cut hits with the same soul-searing slash of wintery pathos. “Amaranth” is a bit too generic and pedestrian, and though “Withered” does some things very well, the writing is a touch less compelling. Elsewhere, closer “Inner Paradigm” feels like something from the later eras of In Flames, not bad, but less impactful. At thirty-eight minutes, there are bits of bloat scattered around, but nothing that’s fatal if swallowed. There’s a lot to like about Circulation, and I’m left still wondering why Nephylim aren’t signed. With this much potential, they should be! 3.0/5.0

GardensTale: From two live shows, I already knew Nephylim were good. I could not have anticipated what a masterclass Circuition would turn out to be, though. Combining the maudlin symphonic details of Fires in the Distance with the melancholy hope and impeccable composition of Countless Skies is no easy feat, but the songwriting has taken a giant leap forward. Circuition is absolutely packed with beautiful melodies, addictive hooks and enticing cascades. The flow is downright brilliant, such that even after a dozen spins, I find myself glued to the speaker in anticipation of the next stanza, the next riff, the next solo. These are linked together with transitions that are set up and knocked down perfectly, helping every track rush past in spiraling eddies like white water rapids after heavy rain. “Circuition” yanks the heart-strings the hardest; follow-up “Withered” has a more basic structure, but the amazing harmonies and powerful solo make it a standout anyway. Cherry on the cake is the top-shelf production, with meticulous mastering and a balanced mix. The sparse clean vocals aren’t great, just okay, and a few tracks end a little more abruptly than I’d like, but these are small bumps on an engaging journey that begs to be spun again and again. 4.0/5.0

Kenstrosity: Dutch sadboi melodeath quintet Nephylim graced my Bandcamp feed a few months back. I was intrigued, but did not bite. At least, not until our Kermity GardensTale recced it for Rodeö duty, at which point I dove straight in. Embodying a wondrous merging between Countless Skies, Fires in the Distance, and a light touch of The Drowning, sophomore effort Circuition garnered instant adoration from this sponge. A rarer feat, Nephylim’s latest only deepened its hold on my heart, as the opening “Travail” suite enamored with epic soars of melody, crushing riffs that ground the piece in deathly gravity, and emotive roars that shake the roots underfoot. “Amaranth” doubles down on that palpable momentum, bringing forward a fun factor that belies Circuition’s introspective character. Beautiful synths and keys dot the landscape just above that metallic verve and swinging rhythm, evoking something inherently mystical while still operating within the bounds of the human spirit (“Circuition”). As the potent pull of songs like “Grand Denial,” “Withered,” and immense closer “Inner Paradigm” continually challenge my perception of what constitutes a highlight, I find myself universally immersed, committed, and compelled by Circuition. Experiencing this, as much as I pine for new material from those great acts that Nephylim remind me of, I know in my soul that Circuition is one of 2025’s foremost contenders. Great!

Maddog: When Fenrir finally closes the curtain on 2025, Nephylim’s Circuition will be one of my few fond memories of this disastrous year. This hidden melodeath gem triumphs by embracing simplicity without stagnation. No one would argue that Nephylim’s guitarists stretch the limits of human dexterity. And yet, as Circuition buried my ears in riffs upon riffs, it dragged me into its orbit. Blending the classic stylings of Dark Tranquillity with the modern touch of Æther Realm, Nephylim won me over through its irresistible energy. While I initially fell in love with merely a couple of its songs, Circuition’s consistency unveiled itself over time. Indeed, while the closer “Inner Paradigm” was initially my least favorite song, its Shadows of the Dying Sun riffs and its somber ending have made it a highlight. Despite its consistency, Circuition’s mood changes keep it fresh. The fantastic midsection of the album progresses from gargantuan riffs (“Grand Denial”) to tear-jerking Enshine melodies (“Circuition”) to explosive choruses (“Withered”). Circuition is textbook, but it’s both a thrilling spectacle and an emotive powerhouse. Every piece is essential, and every piece is distinctive. 4.0/5.0

Killjoy: The term “Nephilim” in the Hebrew Bible is often translated as “giants” in English. Accordingly, melodic death metal band Nephylim does everything big. Riffs? Big. Rumbling death roars? Big. Thunderous rhythm section? Big. Circuition feels like a highlight reel of the serious and somber side of melodeath, with each individual song bringing something unique to the table. “Travail Pt. II – Animus” embellishes the somber intensity of Insomnium with delicate piano keys reminiscent of Fires in the Distance and heaps of symphonic bombast. The suspenseful drum beats which introduce “Amaranth” organically build excitement by layering on bass and then guitar lines before releasing the pent-up energy with a furious snarl and fiery riffs. But there’s also a tender side to Nephylim; “Circuition” adopts a melancholic and folk-tinted mood laced with deep, beautiful croons, all of which I associate with Vorna. Circuition is considerably more ambitious than Nephylim’s debut, but they never let their ambitions spiral out of control. If anything, I’d like to see them continue to develop their symphonic side that they teased in the first two tracks. Although I find the last third of the record ever so slightly less engaging, I can endorse all thirty-eight minutes of Circuition as worthy of your time. 3.5/5.0

#2025 #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #ÆtherRealm #BeLakor #Circuition #CountlessSkies #DarkTranquillity #DutchMetal #EdgeOfSanity #Enshine #FiresInTheDistance #InFlames #IndependentRelease #Insomnium #Mar25 #MelodicDeathMetal #Moontower #Nephylim #OmniumGatherum #ProgressiveDeathMetal #SelfRelease #TheDrowning #Wolfheart

Vanhelgd – Atropos Doctrina Review

By Kenstrosity

My third review ever for this site covered Swedeath quartet Vanhelgd’s fifth outing Deimos Sanktuarium. I was still a n00b then, and my reference points for a great many albums then pales in comparison to the arsenal of touchstones at my disposal today. Six years after my inevitable installment as Grand Spongus of Angry Metal Guy, Vanhelgd marks my first repeat band from my n00b era as they prepare to unleash their sixth salvo, Atropos Doctrina. There’s no time like the present to revisit a band from my critical upbringing. Onwards, to Atropos Doctrina!

Six years between albums changed Vanhelgd, but not as much as some might reasonably expect. Their crunchy combination of Desolate Shrine somberness and Aphyx stomp remains largely unscathed by the passage of time. However, gone entirely are those occasional dalliances with the English language. Good riddance. Also diminished in quantity, Deimos Sanktuarium’s hooky vocal refrains—delivered with an assortment of harsh vox, gang shouts, and ecclesiastical cleans—make way for more guitar-forward fixes (“Kom dödens tysta ängel,” “Gravjordsfrid”). Vanhelgd’s production values shifted, too, moving from a naturally powerful assortment of tones and textures to a thinner, boomier, and louder sonic palette to the record’s detriment. In mood, Atropos Doctrina makes for a more mournful outing than past releases, moving further into doom territory than ever before and evoking a weeping sort of death we more commonly hear from contemporaries like Be’lakor and The Drowning—and used to hear from classics like My Dying Bride (“I ovigd jord”). Overall, though, Vanhelgd successfully maintain their identity as another solid Swedish death metal band sporting a tasteful application of the style.

Consistency is Atropos Doctrina’s greatest asset. Forty minutes of rock-solid, somber death metal that glides through movements as a knife through softened butter, Atropos Doctrina represents Vanhelgd’s songwriting touchstones at their most fluid. After a quick, no-nonsense ripper that immediately launches the record into an adrenaline rush (“Saliga äro de dödfödda”), “Kom dödens tysta ängel” gently grounds me with a more mid-paced march that keeps the energy up just enough to leave me wanting more. More is exactly what I get as the record proceeds in that mid-paced, lightly melodic vein until just over midway through. At that point, album highlight “Atropos Hymnarium” absolutely obliterates my bones with a raucous, and thoroughly unexpected, Black Royal riffset that would fit right at home on Firebride. A chef’s kiss moment if there ever was one. I don’t have to wait very long before the next memorable moment either, as the back end of the record prioritizes tight, well-edited numbers that say what they have to say and move right along. This allows closer “Gravjordsfrid” to hit twice as hard with its main melody, a sullen but emotive refrain that strikes the heart and tugs at its strings. As the song transitions into a piano rendition of that same theme, I feel the weight of woe lighten into newfound peace, marking the final rest of Atropos Doctrina as it fades to black.

Unfortunately, as Atropos Doctrina fades to black each time, I feel very little draw to the idea of returning. This record contains within it a number of compelling passages and beautiful moments (just listen to those lead guitars on “I ovigd jord”), but in between those sparks of brilliance lies a preponderance of stock-standard blackened, melodic death metal that hardly moves the needle past average. As a result, half of the record enters one ear and falls unceremoniously out of the other even during focused spins. I don’t take this term lightly, yet the ultimate takeaway is that much of Atropos Doctrina is generic. Competent and enjoyable, but generic. Consequently, all that the record’s more pedestrian offerings can hope to achieve is to keep the momentum going strong (“Ofredsår,” “Galgdanstid”). Thankfully, that’s exactly what they do. Nonetheless, and especially for a band as well-established and obviously well-versed as Vanhelgd, it takes more than that to stand out.

At the end of the day, Atropos Doctrina is an enjoyable, if ultimately unremarkable slab of sorrowful Swedeath. Vanhelgd understand their sound and wield it well, but they need to either explore more distinctive ways of approaching the format or further capitalize on their best ideas if they want to make a lasting impression. I don’t envy them the task, but I wish Vanhelgd luck, and remain hopeful for what comes next.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: vanhelgd.bandcamp.com | facebook.com/vanhelgd
Releases Worldwide: July 12th, 2024

#25 #2024 #Asphyx #AtroposDoctrina #BeLakor #BlackRoyal #BlackenedDeathMetal #DarkDescentRecords #DeathMetal #DesolateShrine #Jul24 #Review #Reviews #SwedishMetal #TheDrowning #Vanhelgd

Time table @littledevilbar Doom Day V:⏰
15:30-16:20
#TorturedSpirit
16:45-17:35
#TheDrowning
18:00-18:55
#BST
19:20-20:15
#Pentacle
20:40-21:40
#MagmaRise
22:10-23:15
#OfficiumTriste
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#doommetal #doom #deathdoom #doommetalband #metalband #dutchmetal

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