Stuck in the Filter: September 2025’s Angry Misses

By Kenstrosity

At last, a burst of cool calms the blood after a brutal summer, and the leaves are turning. Which means I was able to recruit a bunch of grubby little leaf-lookers off the highway to serve as minions to my ever-needy Filter! With a temporarily replenished staff of fools who are unwittingly risking their lives for mere nuggets, I conduct with renewed vigor the search for quality finds.

Today, I bring you those finds, in all of their sparkly glory. WITNESS THEM!

Kenstrosity’s Jaunty Juke

Jordsjuk // Naglet til livet [September 19th, 2025 – Indie Recordings]

The lack of conversation I’ve seen surrounding this Norwegian black metal riff machine is highly disconcerting. Brought to my attention by my wonderfully wise—and devilshly handsome—owlpal1 from… GASP… another blog, Jordsjuk’s debut LP Naglet til livet has my spine whipping to a fro from the onset of ripping opener “Kollaps.” The whiplash doesn’t stop there as thrashy numbers “Grovt skadeverk” and “Skreddersøm” body me against several walls and even a couple of ceilings. For 36 relentless minutes, with only one song pushing the four minute mark, Naglet til livet is an unqualified triumph of editing and tight, effective songwriting. My immediate comparison is 2007-2013 Skeletonwitch, but some of these riffs, like the turbobangers on “Parasitt,” “Rottebitt,” “Klarhet og dybde,” and “Rennestein,” give those hallowed skellybois a serious run for their money. When they aren’t thrashing, Jordsjuk shift into a dour, but still ravenous black metal shadow. Wraiths like “Riv skorpen av såret” and “Svikter din neste” showcase this looming character quite well, and prove Jordsjuk to be dynamic, versatile songwriters. In short, Naglet til livet is a raucous good time for anyone craving black metal with sharp teeth and limitless energy.

Baguette’s Bouncy Blessing

Arjen Anthony Lucassen // Songs No One Will Hear [September 12th, 2025 – Inside Out Music]

A year without an Arjen record would be a much lesser one. It’s not often the crazy Dutchman reuses a non-Ayreon project title, but here we have his fourth solo album becoming the second under the full Arjen Anthony Lucassen name! Dropping 13 years after the previous one, Songs No One Will Hear announces the end of the world is a mere five months away, its tracks depicting the resulting stages of chaos, disarray, and human silliness. It doesn’t fall far off the catchy and melodic Arjen tree but casts a wider net than prior prog rock adventures. Much of the record reflects different eras of Ayreon, including the ’70s prog whimsy of Into the Electric Castle (“Dr. Slumber’s Blue Bus”) and the fun ’80s metal edge of The Source (“Goddamn Conspiracy”). Closing epic “Our Final Song” is a microcosm of his musical breadth, shapeshifting from Jethro Tull flute shenanigans to analog synth ambience to dramatic riff bombast at will. But it’s “The Clock Ticks Down” that steals the spotlight, marking a brief return to the dark, somber grit of Guilt Machine and 01011001. It’s an unusually normal-sized album from Mr. Lucassen as well, the regular, unnarrated version being only 46 minutes and change. A condensed, jovial jack-of-all-trades showcase with many of the usual great guest musician and vocalist selections! And it’s always nice to hear him sing more, too.

Thus Spoke’s Lurid Leftovers

Fauna // Ochre and Ash [September 26th, 2025 – Lupus Lounge/Prophecy Productions]

It’s been 13 years since Cascadian black metal duo Fauna released Avifauna, to quiet yet great acclaim. Given their preoccupation with human prehistory, they might just be operating on a larger timescale than you or I. Ochre and Ash—the two main ingredients used in ancient cave paintings—is an attempt to invoke the spirit of forgotten ceremonies during which the stories of the people were immortalised on stone. Building on an atmospheric black metal base familiar in their better-known exemplars Wolves in the Throne Room and Agalloch, Fauna give Ochre and Ash a distinctive edge by roaming further afield into the experimental. For every metal-dominated track (“Nature & Madness,” “Labyrinths,” “Eternal Return”), there is an ambient, decidedly unsettling counterpart (“A Conjuring,” “Femoral Sun,” “Mockery”), and the latter are not interludes, but integral parts of the ritual. Each infuses skin-prickling drone with eerie chimes and rattles, and uncomfortable vocalisations ranging from moans and wails to laughter and the howling, yipping cries of animals—or humans mimicking them. In their repetition of haunting, hollow sounds, they are both frightening and trance-inducing. Ochre and Ash’s metallic segments are no less ominous, treading as they do between confrontationally turbulent atmoblack2 and diSEMBOWELMENT-adjacent death doom that puts me right back in the void of madness last year’s Spectral Voice generated. This is not a casual listen, and Fauna could have helped it a bit with some editing, as the weirdness combined with an excessive 70-minute runtime makes some longer passages feel tired and could be off-putting to some. Still, it’s an experience I’d recommend trying at least once.

Spicie Forrest’s Sautéed Surplus

Piece // Rambler’s Axe [September 5th, 2025 – This Charming Man Records]

Finding gym metal has always proven difficult for me. It’s not about the fastest or loudest, but about striking a balance between weight and pace. Rambler’s Axe fits the bill nicely. Influenced by the likes of Crowbar and High on Fire, these Berlin-based doomsters peddle raucous and sludgy heavy metal. There’s a bit of Conan in Piece’s DNA, too, making sure to worship each riff long enough for you to make it through any given set. Beefy basslines and aggressive, chiseled drums make it easy to drop into a groove and get your pump on. Faster cuts like “Demigod” and “Rambler’s Axe” go great with chest flies and leg press, but they’ve got tracks for bench press and deadlifts too. “Bastard Sword” and “Owl Eyes” rumble forward like the slow but inevitable rise of the barbell at max weight. Whether marching or running, baritone shouts like tank treads hang over riffs just looking for an excuse to blow off steam. Whatever your reason for visiting the glorious house of gains, Piece has your soundtrack covered.

Heruvim // Mercator [September 12th, 2025 – Self-Release]

As each passing year leaves the almighty Bolt Thrower further in the past, the yearning for that sound grows. I was quite surprised to find a small amount of solace in Heruvim, hailing from Odesa, Ukraine. I say small solace, because debut LP Mercator is more than just a clone. Augmented with the unsettling atmosphere of early Pestilence and the vocal malevolence of Sinister, this platter of old school death metal carves its own niche in a storied scene. Off-kilter leads bubble up and spew out of a murky, tarred rhythm section like prehistoric gases in a primordial soup (“Gnosis,” “Lacrimae Rerum”). Lachrymose, doom-laden passages and violent death threats trade back and forth, anchored by volatile blast beats and percussive assaults in the vein of Cannibal Corpse (“Nulla Res,” “Mercator”). Stitched together with eerie, short-and-sweet interludes, Mercator’s lean 30 minutes fly by and always leave me itching for more. Heruvim riffs on a slew of classic sounds, creating a casual brutality and primal barbarism that is both compelling and uniquely their own.

ClarkKent’s Melodic Monstrosities

Galundo Tenvulance // Insomnis Somnia [September 17th, 2025 – Spiritual Beast Records]

Falling somewhere between symphonic deathcore acts Assemble the Chariots and Grimnis enters Japan’s Galundo Tenvulance. On their second full-length LP, Insomnis Somnia, the sextet demonstrates raw power and frenetic energy throughout its 41-minute runtime. Songs are anchored by catchy melodic leads, atmospheric symphonies, and punishing, relentless kitwork (no drummer is credited, so hopefully it’s not programmed). Galundo Tenvulance’s new vocalist, Sao, delivers the goods, bringing a spirited energy to her performance that elevates the already terrific material. While the symphonics don’t quite elevate the music the same way they do for Assemble the Chariots, it’s the melodic riffs that make these guys stand out. “Noble Rot” is the highlight, with a killer lead riff that uses harmonics to add just that extra bit of oomph. Other highlights include the catchy “Regret Never Sleeps,” evoking Character-era Dark Tranquillity, and “In The Realms of the Unreal,” which demonstrates their ability to transform solos into surprising melodies. This might be too good to have landed in the filter, but with my TYMHM slots filled up, it’s better than nothing.

Mortal Scepter // Ethereal Dominance [September 9th, 2025 – Xtreem Music]

As if we didn’t have enough thrash floating in the filter, French outfit Mortal Scepter finds itself as yet another piece of thrash dredged from the muck. This quartet has been around since 2012, yet Ethereal Dominance is only their second full-length release. Their sound lands somewhere between the melodic thrash of Bloodletter and the mania of Deathhammer—though a touch less zany. The persistent level of energy these bands can maintain never ceases to amaze me. While the constant beat of drum blasts threatens to make thrash songs sound too similar, the variety of melodies Mortal Scepter delivers ensures that things never grow repetitive. They have a raw, blackened sound that feels immediate and in your face. Drummer Guillaume keeps an impressive pace with fresh-sounding, nonstop blast beats, while vocalist Lucas Scellier snarls with enthusiasm, with a voice comparable to Deathhammer’s Sergeant Salsten. However, it’s the guitars by Maxime and Scellier that really bring the band to life, from the noodly melodies to the dynamic, lengthy, and impressive solos on each song. These guys prove they are more than just simple thrash metallers on the epic thrash, ten-minute finale, “Into the Wolves Den,” which uses a mix of tempo shifts and hooky melodies to make the song just fly by. With this second LP under their belts, these guys have proven themselves an exciting newish band on the thrash scene.

Grin Reaper’s Woodland Windfall

Autrest // Burning Embers, Forgotten Wolves [September 5th, 2025 – Northern Silence Productions]

Burning Embers, Forgotten Wolves merges atmospheric black metal with nature, resuming Autrest’s vision from debut Follow the Cold Path. Like Saor or Falls of Rauros, stunning melodies play across untamed backdrops that stir heartstrings in unexpected ways. Ethereal keys, mournful strings, and rapid-fire tremolos impeccably capture Burning Embers, Forgotten Wolves’ autumnal artwork, bringing Autrest’s imagery to life. Harsh vocals sit back in the mix, evoking windswept trees as cool harvest gusts leach branches of color, while sporadic baritone cleans add variation. “Lobos (Offering)” sets the stage with melancholic guitar plucks bolstered by forlorn strings, giving way to a controlled spark as “Ashes from the Burning Embers” ratchets up roiling vigor. Through forty-two minutes, Autrest expertly guides listeners across shifting landscapes that are delightful in their earnestness. Mastermind Matheus Vidor establishes himself as a preeminent architect of mood, channeling transitions from gentle, wonder-filled serenity to unyielding wrath. The dynamic between aggression and introspection is marvelous, permeating the album with emotion. While I could understand a complaint that some songs blur together, the spirit of Burning Embers, Forgotten Wolves is never stale or disposable. Rather, Autrest has taken what began two years ago and enriched it, composing an ode to self-discovery and transformation.3 My own experience with the music conjures wilderness’s last hurrah before succumbing to winter’s embrace. As days grow shorter and temperatures drop,4 I encourage you to seek refuge and draw warmth from these Burning Embers.

Dolphin Whisperer’s Very Not Late Novella

Sterveling // Sterveling [September 26th, 2025 – Self Release]

Between the world of atmospheric and post-tinged black metal, there exists a twisted form of progressive music that teeters about brooding moods and crackling tones to explore shrieking sadness and profound sorrow. Michiel van der Werff (Prospectors, Weltschmerz), primary Dutch proprietor of Sterveling, places his expressive guitar runs and lurching rhythm clangs in the company of trusted friends to carry out his tortured, baroque vision of black metal. Against the hissing design of synth maestro and Prospectors bandmate Matthias Ruijgrok, a fullness and warping warmth pervades the spacious amp textures and muscular rhythmic framework of each piece. And through the bloodied cries of Weltschmerz bandmate Hreim, a vocal lightning flashes to illuminate the nooks between pulsing synth lines and deathly bursts of full tremolo assault. In three longform pieces, all still totaling a generous forty-two minutes, Sterveling tints a monochrome narrative with vibrant shades from thoughtful tones and well-timed, emotional escalations. Committed to each careful iteration on a melody, the woven Sterveling web grows ever stickier with every passing moment, none of the ten-minute-plus excursions ever feeling even close to their declared runtimes. And with a sound construction that hits delicate yet forceful, creaking yet incising, it’s easy to wander through several journeys on this debut outing before realizing what time has passed. Fans of equally forlorn acts like Tongues or Andalvald will feel more at home here than others. But with a tonal palette that’s as inviting as it is crushing, Sterveling should attract the ears of fans across the extreme spectrum.

#2025 #agalloch #americanMetal #andavald #arjenAnthonyLucassen #assembleTheChariots #atmosphericBlackMetal #autrest #ayreon #blackMetal #bloodletter #boltThrower #brazillianMetal #burningEmbersForgottenWolves #cannibalCorpse #conan #crowbar #darkTranquillity #deathDoom #deathMetal #deathcore #deathhammer #disembowelment #doomMetal #dutchMetal #etherealDominance #fallsOfRauros #fauna #frenchMetal #galundoTenvulance #grimnis #guiltMachine #heruvim #highOnFire #independentRelease #indieRecordings #insideoutMusic #insomnisSomnia #japaneseMetal #jethroTull #jordsjuk #lupusLounge #melodicBlackMetal #melodicDeathMetal #melodicThrashMetal #mercator #mortalScepter #nagletTilLivet #northernSilenceProductions #norwegianMetal #ochreAndAsh #pestilence #piece #postBlackMetal #progressiveBlackMetal #progressiveMetal #progressiveRock #prophecyProductions #ramblersAxe #review #reviews #saor #selfRelease #selfReleased #sep25 #sinister #skeletonwitch #sludge #sludgeMetal #songsNoOneWillHear #spectralVoice #sterveling #stuckInTheFilter #stuckInTheFilter2025 #symphonicDeathcore #thisCharmingManRecords #thrashMetal #tongues #ukrainianMetal #wolvesInTheThroneRoom

Purified in Blood – Primal Pulse Thunder Review

By Cherd

I came of age, musically and otherwise1 in the American Midwest in the 90s. Like so many of my adolescent male peers who lacked cultural outlets for our instinctive angst around blue collar upbringings, I latched on to the exploding scene of hardcore and early metalcore. For the better part of a decade, I mainlined releases from record labels like Victory, Revelation, SolidState, et al, but by around 2002, the prevalence of screamo and my own shifting tastes pushed me down other musical paths. Small wonder, then, that I was unfamiliar with Norwegian metalcore purveyors Purified in Blood when I selected—with trepidation, given the metalcore tag—their new record Primal Pulse Thunder from the promo sump. As I have learned, Purified in Blood formed in 2003 and have dissolved and reformed multiple times since. We may have been ships passing in the night lo these many years, and my introduction to them may come on their fourth full-length, but now I’ve found them I’m pleasantly surprised.

Any fear that I was in for some weepy post-metalcore with nasally cleans disappeared as the d-beat drums and beatdown riffs of first advance single “Jernbur” filled my Heavys. This is tough guy hardcore, but without the cocky barked vocals of most bands I’d categorize that way. Instead, vocalist Hallgeir Skretting Enokssen has an enviable harsh delivery for both gang-shouts and the death growls he frequently slips into across Primal Pulse Thunder’s nine songs. In fact, hardcore may be the structure of Purified in Blood’s sound, but melodeath is the cladding. The style pops up all over, from the tremolo sprint in the otherwise knuckle-dragging title track, to the bridge in “Key and Stone,” to the the harmonized chorus in “Jernbur.” While the band started as hardcore (sorry) proponents of the straightedge ethos, resembling Earth Crisis in philosophy and in sound , the remaining members have since dropped the overt social politics of it lyrically. Instead, there’s a lot of rumination on transcending a world on fire, and no small amount of chest-thumping declarations.

There are significant strengths to discuss on Primal Pulse Thunder, but the most impressive is how hardcore and death metal serve each other as the band deftly blend or switch between the styles. The title track is a great case in point. Before listening to a single note, I read the album’s title and thought “that sounds stupid.” Those three words in that combination came across as try-hard toughness. But by packaging those words in a perfect blend of dummy caveman death riffs and slowed-down beatdown, the song has me wanting to see it played live so I can join in shouting “PRIMAL! PULSE! THUNDER!” And then there’s that late tremolo riff that packs tons of Amon Amarth swagger into the song as Enokssen roars “I refuse to be killed! Set fire to everything!” Purified in Blood know exactly what each of their two main styles are for, and they deliver several choice cuts of monstrously heavy metalcore.

That’s not to say Primal Pulse Thunder is a world beating record. It’s long for as much hardcore as it has at 50 minutes, and there is definitely bloat that wouldn’t be missed if it were cut. The two song stretch of “Ascend to Nothing” and “Spiritual Thirst” is where that trouble begins. The first of these is actually a welcome slow down after the white hot intensity of the tracks up until that point, with a nice mid-paced groove that helps the record breath. Unfortunately it’s followed by an even slower, more experimental song. “Spiritual Thirst” is the low point of the album, starting with un-asked for throat singing, stick clicking, and riff development that feels out of place among the otherwise tight writing. At nearly eight minutes, it’s also the second longest song on the album. The longest, 11 and a half minute closer “Portal,” fits the album much better, but it’s fair to say a song like standout “Jernbur” does everything “Portal” does, but in almost a third of the time.

Relatively minor bloat issues aside, Primal Pulse Thunder is a three word phrase that, despite it’s awkwardness on the page, now conjures for me the sweaty basement shows and the live-wire energy I experienced as a 20 year old. I remember friends at the time telling me “You can’t listen to this kind of music forever.” Oh, can’t I?

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Indie Recordings
Websites: purifiedinblood.bandcamp.com | facebook.com/purifiedinblood
Releases Worldwide: March 14th, 2025

#2025 #35 #Beatdown #DeathMetal #EarthCrisis #Hardcore #IndieRecordings #Mar25 #Melodeath #Metalcore #NorwegianMetal #PrimalPulseThunder #PurifiedInBlood #Review #Reviews

@rinze

También está disponible para escuchar/oir (en "abierto") aquí:

https://wardrunaofnorway.bandcamp.com/album/runaljod-yggdrasil

#ListeningTo #IndieRecordings #Bandcamp #ThanksForTheTip!

!

Vredehammer – God Slayer Review

By GardensTale

Vredehammer’s sophomore album, Violator, was released almost 8 years ago. The deadly blackened death record made it onto my very first top 10 list for AMG on account of the electrifying energy and excellent hooks. Successor Viperous slithered into my HM’s, and I may have underrated it at that. It increased the density of sound and used synths for a slick, neon battering ram. So when Steel waved the gorgeous-looking new promo over the writer’s pit, I leapt for it so fast and violently, three Melvins are still in intensive care. Is Vredehammer going three for three on my end-year list?

Not only is it gonna be on the list, it might obliterate all the competition altogether! Comparing God Slayer to Viperous, Per Valla (founder and sole bandmember, who does everything except drums) claims to have composed God Slayer with an increased focus on hooks rather than speed. He’s only about half right. Granted, the hooks are many, and they are razor-sharp, utterly addictive, and will stick in your skull morning til night. But well over half of God Slayer is every bit as expeditious as its predecessor. The opening salvo is a triple serving of Vredehammer at its best: muscular riffs at high speed, Valla’s crunchy growls, and drums not unlike a murderous machine (this time courtesy of Dominator, of Dark Funeral and Nordjevel fame). The first act culminates in the colossal violence of “God Slayer” whose indomitable chorus and epic mid-track build make me feel able and eager to reduce mountains to rubble with my forehead. Take this track into the gym and you will be hurling the barbells into the ceiling.

Though every track is a feast of riffs fit for a demigod warlord, each has a clear, singular identity. “From the Abyss” has an apocalyptic vibe with a focus on a single main hook, whereas “The Joker” utilizes frequent speed changes and a looser song structure to keep you on the wrong foot. There are epic dark fantasy overtones to “The Dragons Burn” and its shimmering tremolos, while the furious and feral “Blood of Wolves” lives up to its title with sheer unbridled aggression. The synths that made such an industrial affair of Viperous are less prominent, moving the focus back to the guitars, but they return to the spotlight on a few occasions, particularly on the album’s third act. One such occasion is “Death Becomes the New Day,” which stands out in a line-up of excellence as the sole ‘merely really good’ track, lingering a bit too long on medium intensity. But hot on its heels comes the extra-catchy “Product Human Slave” with its death ‘n roll rhythms and cyberpunk interlude to restart the riff-machine.

If you’re still waiting for a ‘but’ you can keep waiting. All I got is a tiny handful of minor nags and niggles, most of which have their own buts. Closer “Obliterator” isn’t quite as memorable as most of the tracks preceding it and ends the album a bit sudden, but it’s still very impressive with a killer ascending midsection. The dynamic range has gone off a cliff from a 9 to a 5, but somehow the production comes out none the worse for wear. The master sounds great, compact and burly but not overly tiring on the ears despite the often dense sound and high tempo. There is little detectable loss of impact to the delectable drums, and the mix is spot on, with nothing getting buried or doing the burying.

Vredehammer has repeatedly demonstrated to be in the upper echelons of blackened death metal. Violator meshed raw power with addictive hooks, Viperous upped the speed and unflinching attitude. God Slayer combines the best of both to become the peak of the band’s illustrious career. It’s five gallons of adrenaline pumped through a wrought iron IV. It’s a nuclear train with no breaks that won’t even slow down after it leaves the tracks. It’s addictive like speedballs and victory, and as catchy as Captain Trips from The Stand. It’s singular in its vision of uncompromising headbangability with all the variety of a perfect anthology. It’s 40 minutes of me wanting to bare-knuckle mythological beasts to death. It’s the best album I’ve heard this year. Get it.

Rating: 4.5/5.0
DR: 5 | Format Reviewed: PCIM
Label: Indie Recordings
Websites: vredehammer.bandcamp.com | vredehammer.no | facebook.com/vredehammer
Releases Worldwide: May 24th, 2024

#2024 #45 #BlackMetal #DarkFuneral #DeathMetal #GodSlayer #IndieRecordings #May24 #Nordjevel #NorwegianMetal #Review #Reviews #Vredehammer

Seigmen celebrates 'Resonans' album with a full evening of signing session, Q&A and quiz #Apollon #ArvidSkanckeKnutsen #IndieRecordings #seigmen #tønsberg #VelvetRecording

https://www.side-line.com/seigmen-celebrates-resonans-album-with-a-full-evening-of-signing-session-qampa-and-quiz/

JORDSJUK – Råtner på Rot
https://eternal-terror.com/?p=60342

RELEASE YEAR: 2024BAND URL: https://www.facebook.com/jordsjuk

I bought the very first tune that Jordsjuk released digitally a while back, namely the fierce and vicious ‘Stein til Byrden’, and I have eagerly followed their online activity ever since and also ended up purchasing the ‘Siste Skanse’ track, which was yet another frighteningly […]

#blackMetal #groovyBlackMetal #indieRecordings #jordsjuk #mannevond #norwegianBlackMetal #oslo #råtnerPåRot

Bokassa – All Out of Dreams Review

By GardensTale

On the surface, the perceived lethargy of stoner metal doesn’t seem like a natural match for the reckless energy of punk. But the two genres have been roommates since college and still bunk together regularly. The soundtracks of Jackass and Tony Hawk’s Pro Skater mixed them up freely, and bands like Clutch and Fu Manchu have plenty of popularity on both sides of the fence. When I saw Rise Against in March of 2011, they brought Coliseum, who fused stoner, hardcore, and punk into one. So I wasn’t particularly surprised at Bokassa’s self-appointed genre of stoner punk. I was more surprised, and apprehensive, at Lars Ulrich of all people giving them the seal of approval. Do they live up to the high praise of Metallica’s third-best drummer?

If nothing else, the genre descriptor is apt, though anyone hoping for a bucket of garage grime will need to look elsewhere. Bokassa drapes light stoner riffs à la Fu Manchu over a simplistic pop-punk framework. Musically it’s closer to latter-day Rise Against or even Sum 41 than Dead Kennedys or The Exploited. There’s not much gritty DIY in the production either, which is reasonably polished and not too loud, though the snare is a tad aggressive in the mix.1 The result exceeds the term accessible; if rock was still played on the radio, Bokassa wouldn’t feel out of place on an average alternative station. The only disqualifying factor might have been the gruff vocals, a smoother version of Orange Goblin with the occasional gang woah-ohs.

If this description sounds disparaging, you’re not entirely wrong. Bokassa goes straight for the lowest common denominator, eschewing anything cerebral for the sake of easy absorption. But that’s what they’re good at: you’ll know over half the choruses by heart after a single spin, even (or especially) those that are aggressively dumb, like “Gung Ho” or “Straight Edgelord.” For better or worse, this is music made for skate stunt compilation videos and backyard parties that’ll have the neighbors complaining. As such, the best tracks are those with high energy and infectious riffs, and the front half is packed with those. “The Ending Starts Today” fumbles the chorus with some ill-advised mumbling but has otherwise no shortage of spirit, and “Garden of Heathen” (featuring Lou Koller of Sick of it All) is catchier than it has any right to be. The band even tackles January 6th with the fun “Let’s Storm the Capitol.”2

Bokassa does like to mix it up with some slower tunes, though, and that doesn’t always work in their favor. “Gung Ho” is easy to remember but its repetitive mid-pace makes it a slog, and the awkward title track lurches confusingly between different mismatched tones. There are energy drains in the vocal department as well: as the vocals work best when they’re raucous and self-assured, the mood drops whenever the rather lethargic cleans pop up, whether in solo droning intonations or unenthusiastic group whooping. Strangely, despite slowing things down and including lethargic clean vocals for the refrain, the full-blown doom closer “Crush (All Heretics)” does manage to charm. A solid Black Sabbath riff pulls that cart, and the hummed chorus adds a layer of mystery. It’s a weird closer for a stoner punk album, but it does help pull it together at the finish line.

9 out of 10 times I’ll commend a band for attempting to include different moods, angles, and energeticnesses across their album. All Out of Dreams takes a swing at this philosophy, but Bokassa has a very particular set of skills, and flounders whenever they try to spread their wings. It’s not a bad album at all; it’s catchy as hell, and at least half the tracklist is ready to be plundered for party playlists. The tight editing and short duration support the fun factor, and you can do much worse for a quick bout of low-brow punk energy with fuzz. There are just a few too many dings to recommend the entire package with my full throat. If Bokassa tries to switch up fast with even faster next time, we might get better results.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Indie Recordings
Websites: bokassaband.bandcamp.com | bokassaband.com | facebook.com/bokassaband
Releases Worldwide: February 16th, 2024

#25 #2024 #AllOutOfDreams #BlackSabbath #Bokassa #Clutch #Coliseum #DeadKennedys #Feb24 #FuManchu #IndieRecordings #Metallica #NorwegianMetal #OrangeGoblin #PunkRock #Review #Reviews #RiseAgainst #SsickOfItAll #StonerMetal #Sum41 #TheExploited

Seigmen builds up to album release with new single 'Kollaps' #IndieRecordings #Kollaps #radiowaves #resonans #seigmen #VelvetRecording

https://www.side-line.com/seigmen-builds-up-to-album-release-with-new-single-kollaps/

In Vain streaming new song “Season of Unrest”
#InVain #IndieRecordings #SeasonofUnrest #Solemn #2024Releases

https://metalinsider.net/video/in-vain-streaming-new-song-season-of-unrest

Did you already check ATENA their videoclip of SLIP AWAY?

📹 https://www.youtube.com/watch?v=UkgTq8f7RM0
.
.
.
#sethpicturesmusic #sethabrikoos #atena #oktoberpromotion #metalcore #metalcoremusic #metalband #indierecordings

🤘✌️