Record(s) o’ the Month – November 2025 By Steel Druhm

We made it! It’s the end of yet another year, and we’ve reached the final Record(s) o’ the Month for 2025. Over the last 12 months, we’ve laughed, cried, burned posers and poorly performing n00bs at the stake, and we’ve all grown as people (except the aforementioned victims of fiery doom). What better way to set the stage for the looming Listurnial celebration than to look back at the best things that hit the ears in November. That was rhetorical. There is NO better way. Onward!

It shouldn’t be a big surprise that 1914 nets the top spot for the month, since Viribus Unitis [November 14th, 2025 by Napalm Records – buy it at Bandcamp!] was another stunning testament to the talent of this Ukrainian ensemble. It seems grimly appropriate to learn about the horrors of modern warfare from those forced to live through it in the present day. As with prior releases, Viribus Unitis is steeped in dark, melancholic atmospheres as tales of battlefield brutality and inhumanity spill over the speakers. It’s a masterful merger of black, death, and doom metal in service of emotional devastation that will transport you to a muddy, blood-soaked trench and fill your soul with existential dread. As a sobered Grin Reaper solemly summed up, “Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime.” War is still Hell.

Runner(s) Up:

Qrixkuor // The Womb of the World [November 7th, 2025 | Invictus Productions | Bandcamp] — Symphonic death metal can be a sticky biscuit, and balancing the brutality with the bombast takes a steady hand. For The Womb of the World, Qrixkuor brought in an actual orchestra to lay down the symphonies of destruction that undergird the cavernous death metal that’s become the band’s gruesome calling card. Abrasive riffs come in bunches, horrific sounds are forced upon you, and discordance is the watchword. It’s a lot to process and absorb, but it’s very impressive. The Spongefren was all over the AMG Slack channels the last few weeks preaching the merits of this thing, and we couldn’t get him to shut up about it. As he gushed in his extremely gushy review, “Their sound and style won’t find fans in every corner. In fact, I’d go so far as to say The Womb of the World is liable to weed out prudish listeners more harshly than Poison Palinopsia already had. But it is an unqualified success all the same, a mastapeece for those to whom sanity is immaterial.” Symphomania!

Oromet // The Sinking Isle [November 7th, 2025 | Hypaethral Records | Bandcamp] — Oromet came back with a vengeance on The Sinking Isle, delivering 3 long-form doses of funeral doom heavy enough to crack a tectonic plate. Opening with a 20-minute track takes Christmas ornaments of brass, but Oromet shows you how doom is done with crushing lows contrasted against dizzying highs. It’s the rare funeral doom album that won’t have you glancing at the clock, and that’s a symptom of success. Despair and hope, violence and tranquility, you get it all for the price of one album. As a stunned Beglassesed Man of Steel exhorted, “As monumental as Oromet’s debut was, this one is a step forward thematically and musically. It reinvents what funeral doom can be—not just a crushing sense of sorrow, but a genre that can raise your spirits as well.” Go down with this ship.

#1914 #2025 #Oromet #Qrixkuor #RecordSOTheMonth #TheSinkingIsle #TheWombOfTheWorld #ViribusUnitis

1914 – Viribus Unitis Review

By Grin Reaper

1914 has never shied away from the ugliness of war and death. Since Where Fear and Weapons Meet was released in 2021, the Ukrainian outfit has witnessed the horrors of that ugliness on their own soil. On Viribus Unitis,1 the quintet from Lviv maintains the poise and brutality of earlier material while imbuing their latest opus with deft poignancy. The album follows the story of a Ukrainian soldier fighting in the Austro-Hungarian army, and describes the thrill of victory, the anguish of defeat and injury, and the wretched misery of internment. Rather than re-upping the pointlessness of war, though, Viribus Unitis broadens 1914’s philosophy to highlight the camaraderie and brotherhood that such difficult times beget. Do the shift in tone and gravity of personal stakes allow 1914 to clear the high bar they’ve set for themselves?

1914’s brew of blackened death/doom returns in full force on Viribus Unitis, delivering the potent cocktail of history and metallic fortitude we’ve come to expect. As Holdeneye keenly observed in prior coverage, the Bolt Thrower-meets-Asphyx intersection remains apt, as well as Amon Amarthian melodic sensibilities. The opening to “1914 (The Siege of Przemyśl)” would slot perfectly into Fate of Norns, for instance. And anyone paying attention to WWI-centric bands writing songs from the Central Powers’ perspective won’t be surprised by Kanonenfieber comparisons, both in subject matter and determined sonic fervor. Besides the interplay of titanic riffs and melodic leads, listeners are thrown into samples of period-specific soundbites, such as the clip at the beginning of “1917 (The Isonzo Front).” Throughout Viribus Unitis, snippets like this further ensconce listeners in the milieu of the time.

Everything that worked well for 1914 on Where Fear and Weapons Meet has been dialed up on Viribus Unitis. The crushing bulk of blackened sludge, the biting edge of bitter melody, and the tinny clips of a bygone era construct a vivid portrayal of life and death on the front lines. It’s at once addictive and morose, and genuine in a way that transcends surface-level storytelling. Gang choruses weave in with Ditmar Kumarberg’s blackened rasps (“1915 (Easter Battle for the Zwinin Ridge)”) to create a soundscape on two fronts, one unhinged by the chaos of war and the other a united fellowship forged in the fires of man-made hell. Another crucial layer that elevates Viribus Unitis is the guest vocals. Christopher Scott (Precious Death), Jérôme Reuter (Rome), and Aaron Stainthorpe (High Parasite, ex-My Dying Bride) inject variety and character to support 1914’s intricate aural campaign. Stainthorpe’s contribution on “1918 Pt. III: ADE (A Duty to Escape)” haunts with magnetic resonance as his cleans detail the inner monologue of the escaped protagonist while Kumarberg’s snarls narrate a harrowing getaway. This is pure SotY fodder and a must-listen for anyone reading. “1919 (The Home Where I Died)” follows, where a slightly distorted piano adds a warbling surrealism to the dirge. In it, Reuter’s tender croon recounts reuniting with his wife and daughter before the heartrending decision that he must leave once more.2

1914 wields thunder and riffs instinctively, ruthlessly bludgeoning with devastating grooves and cutting with calculated precision. Rostislaw Potoplacht’s3 drumming hypnotizes with martial rolls and implacable plods while Witaly Wyhovsky and Oleksa Fisiuk’s dual-guitar tandem electrifies with fiery trems and viscous atmospherics. All the while, Armen Howhannisjan holds down the bottom end on bass, adding texture and balance to the inexorable heft of Viribus Unitis. The sum total conjures vivid auditory experiences where each track breathes and bleeds with vitality and earnestness. And while no song sounds alike, all are undeniably 1914.

There’s little doubt that 1914 has delivered the most realized and important album of their career so far. Viribus Unitis is a masterclass in no-bullshit metal storytelling that feels authentic, intimate, and anthemic for the entire runtime. The sweeping story of a solider’s struggle through injury, capture, and escape is enough to satisfy, but viewed through the lens of the ubiquity of loss and love makes Viribus Unitis even more profound. 1914’s preceding LPs are fantastic, and their newest platter unequivocally entrenches the band as a premier act with a unique voice and relevant commentary on the human condition and how violence always leaves scars. Viribus Unitis is a must-listen for fans and newcomers alike, and missing this one is sure to leave you shell-shocked.

Rating: Excellent!
DR: NA | Format Reviewed: Stream
Label: Napalm Records
Websites
: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

#1914 #2025 #45 #AmonAmarth #Asphyx #BlackMetal #BoltThrower #DeathDoom #DeathMetal #DoomMetal #HighParasite #Kanonenfieber #MyDyingBride #NapalmRecords #Nov25 #PreciousDeath #Review #Reviews #Rome #UkrainianMetal #ViribusUnitis

@iode @e_mydata please joint your efforts to create a true USA indipendent and privacy/user focused mobile operating system... You seems both good but you need to improve easy installation on a wider range of mobile phones (Mediatek SoC also please) and never be rival...
... #ViribusUnitis

(divide et impera will be fatal for the european technological survival)