Graveripper – From Welkin to Tundra Review
By Tyme
Hoosier hellraisers Graveripper have been spewing their brand of blackened thrash on the streets and in the back alleys of Indianapolis since 2019. Their 2023 debut album, Seasons Dreaming Death, was covered favorably here by our dear friend Holdeneye, and while it didn’t receive one of Holdy’s famous 4.0s, it did put a ‘big, dumb smile’ on his face nonetheless, proving Graveripper had potential. Divested of all his Seasons Dreaming Death bandmates, guitarist and vocalist Corey Parks partnered with new bassist Steve Garcia and drummer Nick James to soldier on as a trio. And so, with their stable label partner, Wise Blood Records, still in tow, Graveripper prepare to release their sophomore effort, From Welkin to Tundra. Parks’ decision to wipe Graveripper’s slate clean and bring in fresh blood so soon was a bold move, but it made me curious what impact it would have on their sound. Is From Welkin to Tundra the ‘truly savage’ thing Holdeneye felt Graveripper capable of, or will this new iteration require further gestation?
As evidenced by the wickedly bleak Adam Burke cover art and Carpathian Forestry of instrumental intro “Welkin, Now Tundra,” it’s clear Graveripper leaned further into the black. Still, there’s plenty of straightforward thrashery afoot, as Parks fires off a plethora of furiously fast riffs, his vocal barks, shouts, growls, and rasps sounding as vicious as ever. Beneath the surface, Steve Garcia’s bass rumbles and runs as Nick James straight d-beats his way through most of From Welkin to Tundra’s thirty-three minutes, capably corralling the craziness. Midwest mates Midnight and Wraith still hold as valid comparators (“Death’s Cold Embrace”), however, darkened mists of Aura Noir (“New Gods, New Masters”) blended with punky clouds of Darkthrone and shades of dissonant Dissection (“…And Now It’s Dark”) serve to complete the black metal side of Graveripper’s blackened thrash equation, as they manage to merge the two elements of their songwriting more cohesively than on the debut, lending From Welkin to Tundra a better sense of balance and consistency.
What Graveripper’s From Welkin to Tundra lacks in complexity is made up for in execution. ‘Simple is as simple does’ is the motto that carries the day for early highlights “Bring Upon Pain” and “Hexenhammer,” the former’s rapid-fire riffing and old-school Kreator vibe, combining with the latter’s blackened tremolos, harmonic leads, and vicious vocals, creating the basis for success. Yet, for my money, it’s the very Megadethic melodicism of the leads and speeds of “Bullet Laden Crown,” in tandem with the absolutely blistering riff-fest that is “Burning Barren Plains,” that not only end the record on a high note but are two of my favorite tracks on the album. Niko Albanese and Joe Causey provide vastly improved mixing and mastering, respectively, enhancing the consonance among tracks, improving the flow, and alleviating many of the production woes that impacted Seasons Dreaming Death.
As improved a unit as Graveripper presents here, especially considering the near-complete scrubbing of its membership, there were a couple of things on From Welkin to Dusk that left me wanting. First, and this is a minor issue of pacing, is the lull I continuously experienced in the run of songs from “Death’s Cold Embrace” to “Hounds of Hell,” each track adhering to a straight thrash riff-riff-run-and-done approach that bleeds the three tracks together before returning to more blackened climes on “New Gods, New Masters.” Second, there’s a dearth of shred on offer that I definitely would have liked to hear more of. Parks’ broadening solo skills shine bright on the horizons of “Bring Upon Pain” and “Burning Barren Plains,” but aside from a very brief foray on “Hounds of Hell,” From Welkin to Dusk is void of solo work, an element that, if effectively incorporated, could push Graveripper to the next level.
It’s nice to highlight that there’s more to Indiana than corn and The 500, as Graveripper, alongside bands like Wraith, Wolftooth, and others, continue to shine in a solid Hoosier metal scene. From Welkin to Dusk is a formidable step in the right direction for Graveripper. I’m hopeful this lineup will maintain its continuity, as I am sure, with a little more high-tone shred poured in, they’re capable of loftier levels of lethality. For now, I encourage you to take From Welkin to Dusk for a spin and don’t stop at my numerical score because this thing is, in fact, good!
Score: 3.0/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Wise Blood Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 17th, 2025
#2025 #30 #AmericanMetal #AuraNoir #BlackMetal #CarpathianForest #Darkthrone #FromWelkinToDusk #GraveRipper #Midnight #Oct25 #Review #ThrashMetal #WiseBloodRecords #Wraith
Bloodletter – Leave the Light Behind Review
By ClarkKent
Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.
Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.
Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive
One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.
If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025
#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords
Stuck in the Filter: April 2025’s Angry Misses
By Kenstrosity
The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.
Show your appreciation for what we bring to you, and enjoy ov deep Filter!
Kenstrosity’s Biblically-Accurate Beast
Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]
A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!
Killjoy’s Flavorful Feasts
Malphas // Extinct [April 11th, 2025 – Soulseller Records]
If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.
Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]
You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.
Owlswald’s Wide-Eyed Wonders
Game Over // Face the End [April 25th, 2025 – Scarlet Records]
In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.
Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]
Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.
Tyme’s Grungy Gift
Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]
Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.
Dolphin Whisperer’s Ample Acquisitions
Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]
Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.
Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]
As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.
Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]
Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.
#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym
Wise Blood Records’ four-way split thrash series continues with Faster Than The Devil 2. Last year, Wise Blood Records put out a four-way split anthology called Faster Than The Fucking Devil. That …
Shardik Media
Angry Metal Guy
