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

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

Labyrinthus Stellarum – Rift in Reality Review

By GardensTale

Last year, two shockingly young lads from the war-torn Odesa, Ukraine, released an absolute gobsmacker of an album that wound up monopolizing my non-review rotation for weeks. Vortex of the Worlds was only the second album from Labyrinthus Stellarum, but the cosmic black metal within had power, depth, and hooks for days. Obviously, I wanted more, and the Andronati brothers expedited delivery, leaving less than 13 months between releases. You can strike when the iron is hot, but slow and steady wins the race. Which idiom is idiotic regarding Rift in Reality?

Laugh at the naysayers and scoff at the unbelievers, citizens, because Rift in Reality is everything one could want from a sequel to Vortex. Labyrinthus Stellarum is great at many different things: thick and evocative deep space atmosphere, enticing melodic lines on guitar as well as keys, dexterous energetic assaults, methodically constructed grandeur, and more. But whereas Vortex put some of everything in every track, the songs on Rift in Reality are more focused, more singular. The variety across the 37-minute album is astounding. Opener “Voyagers” is fast and furious, even bright, sketching a Star Trek-style expedition to boldly go where no one has gone before in its energetic riffs and supporting synthwork. It’s a colossal contrast with the gorgeous centerpiece “Lost in the Void,” where the understated keys and heavy mood paint the vivid picture of an astronaut gone adrift, life support slowly ticking down to the red as the music takes us through their stages of grief.

This kind of imagery invoked is purely down to the music, as the vocals are, by and large,e unintelligible. Not that it detracts from elder brother Alexander’s emphatic, biting snarl, which manages to induce an emotional response with only minute variations. His cleans might prove more polarizing, as the heavy layering and vocode effects are often unpopular in the metal sphere, but these production choices fit the themes too well to be a detraction or distraction for me. Even where they are used more heavily, such as the abject heartsick of “Take Us Home,” they effectively serve to conjure a long-range transmission through interplanetary space. It all further boosts the diversity and recognizability of each individual track, and Labyrinthus Stellarum has even begun incorporating new sounds and songwriting elements; just check the brief but effective breakdown in “Rift in Reality” or the spacetime warping bends of “Ravenous Planet”‘s main riff.

Put it all together and Rift in Reality is an excellent, highly effective, and thoroughly addictive trip across the darkest corners of the universe. The only thing that detracts from the tracklist is closer “Nirlakh,” a fully electronic instrumental that would be great in a Metroid soundtrack but sounds curiously out of place here. Aside from that, the production has its good and bad sides. As with Vortex, I’ve come to enjoy the choice for mood over pure fidelity here. There’s a slightly hollow, muffled sound across the album, which supports the notion of being in a cramped spaceship with an unimaginable void all around you. But this should be possible with a little more breathing room on the master. In its current state, the programmed drums sound flatter than I believe they ought to. The mix does help retain enough depth to the music overall, but I do think Labyrinthus Stellarum can still improve on this point.

It will have to suffice for a list of improvements, because there’s scant little else to complain about regarding Rift in Reality. Despite a fast turnaround and the ongoing war, the Andronati brothers have not only retained the quality of its predecessor, but are clearly pushing themselves to evolve and diversify. Every track here feels like an episode in a sci-fi anthology series, jumping between infectious earworms and affecting atmosphere with practiced ease. It’s fun without sacrificing depth, it’s addictive like crack, and you can put it on repeat for a week without growing tired of it. One great album can put you on the map, but two in a row gets you a spot amongst the stars, and with Rift in Reality, Labyrinthus Stellarum have earned a constellation of their own.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Northern Silence Productions
Websites: labyrinthusstellarum.bandcamp.com | facebook.com/LabyrinthusStellarum
Releases Worldwide: May 2nd, 2025

#2025 #40 #LabyrinthusStellarum #May25 #MelodicBlackMetal #NorthernSilenceProductions #Review #Reviews #RiftInReality #UkrainianMetal

Jinjer – Du​é​l Review

By Dolphin Whisperer

Despite the coverage in these halls referencing 2016’s King of Everything as “…so inessential, so boring, and so forgettable…,” Jinjer has persisted through almost ten years, from then, of rising notoriety. With hundreds of thousands of listeners on streaming services, and a touring schedule loaded with international dates and festival appearances, it’s safe to say that the Ukrainian nu-prog-groove outfit has earned some sort of place at the metal table. Of course, their alternative rock bend and penchant for half-time at a stuttering, deathcore crawl ensure that that place is not at the table of any traditional heavy metal sound. A seat hardly matters, though, when the crowd stands ready to jumpdafuckup with a drop and down-tuned chug. Can Jinjer’s fifth full-length Du​é​l even hope to conquer the naysayers?

Yo, yo, yo, that’s a no, no, no—Jinjer hangs around, groove to the bone, unapologetic in dedication to their drop A riffcraft and tough guy build-ups. At the center of Du​é​l—in case you’re not one of the ninety-million views of Jinjer’s breakout “Pisces” live performance—sits vocalist Tatiana Shmayluk’s one-woman alt croon to howling demon performance, both full in nasally rock control and bellowing in shredded throat prowess. Whether slathered with a Staley-tinged (Alice in Chains), Kittie-indebted sneer (“Tumbleweed,” “Someone’s Daughter”) or cranked with a scraggly, Otep-ian fervor (“Green Serpent,” “Dark Bile”), Shmayluk dominates the draw of memorability that Jinjer, and Du​é​l, have to offer.

The reliance on Shmayluk’s charisma, however, has never felt quite as strong on other Jinjer outings as it does on Du​é​l. While sliding scale riffs and heavy kit syncopation, particularly in well-placed chiming cymbal chatter, skew progressive in a brooding, fugal fashion (just about every melodic layer feels Baroque in inspiration), it’s the well-worn path of verse-chorus-verse-chorus-bridge-chorus that spells the battlefield on which Du​é​l places its every piece. On older releases, Shmayluk and Jinjer have been a little more experimental in approach, both letting their native tongue provide an additional melancholy and allowing left-field influences (like reggae). But in an unwavering contrapuntal aggro-shuffle, Eugene Abdukhanov ensures that his bass prancing core propels each track forward. This Meshuggah-cadence, Tool-tricky possession shows in beautiful tapping runs scattered across slow-burn bridges and fading light outros. And while his fancy finger talents inspire routine closed-eye head bobs, they also too fall into service of a framing djentrified guitar drag or deathcore-leaning breakdown.

In an album as uniform as Du​é​l, the details in production and pacing make or break the effectiveness of the hypnotic groove for which it aims. On the one hand, drummer Vladislav Ulasevich’s rhythmic choices—his dry and dampened snare, quick clanging cymbal accents—all live in service to frame Jinjer’s low-end stomp and swagger. However, in that same low-impact, woody plonk, no other sounds exist to compliment its unsatisfying tat-tat-tat, with only certain tracks that live in relentlessly driving mosh grooves or thrash-speed breaks (“Rogue,” “Fast Draw,” “Du​é​l”) finding sufficient speed and brightness to feel like a fulfilling sonic mold. All too often, Jinjer leans on a droning, mid-paced lurch that has to work overtime to overcome auditory inertia. And though Shmayluk spends a higher percentage of Du​é​l in a cleaner mode than past works, which is a mode that suits her and Jinjer well, the incessant urge for every song to force a hammy aggression—a classic death metal “BLEGH” even finding its way into “Hedonist”—into every other verse or bridge to comply to the Jinjer formula wears on the lesser tracks that slog about.

Familiarity can be frustrating. And for a band like Jinjer, the frequent trips down big riff lanes that sound a lot like their other work widens the gap between rippers and skippers. Du​é​l sounds like Jinjer, which is an accomplishment in a genre amalgamation that boasts many more ill-advised backward hats than it does influential, legacy acts. However, good bands don’t necessarily always need to make good albums. Jinjer is a good band, and their own dramatic and skillful identity shines through in full force on a number of tracks that Du​é​l hosts. But with eleven tracks that run in a narrow pool of lengths, a curated scope of execution, and at varying levels of quality within each iteration, it’s hard to call Du​é​l a good album.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream1
Label: Napalm Records | Bandcamp
Websites: jinjer-metal.com | jinjer-jinjer.bandcamp.com
Releases Worldwide: February 7th, 2025

#25 #2025 #AlternativeRock #Duel #Feb25 #GrooveMetal #Jinjer #Kittie #Meshuggah #Metalcore #NapalmRecords #NuMetal #Otep #ProgressiveGrooveMetal #Review #Reviews #Tool #UkrainianMetal

A new song on my YT-channel!!

Sun and Moon | Сонце та Місяць (UA)
Link the song: https://youtube.com/shorts/mncpMnOUNR8?si=v8AN49oKihcsiFKq

#metal #poetry #poem #poet #poetrylovers #詩人 #ポエトリー #ポエム #AIイラスト #Ukrainian #Ukrainianmetal #Ukrainianrock

Labyrinthus Stellarum – Vortex of the Worlds [Things You Might Have Missed 2024]

By GardensTale

Black metal and outer space are an excellent match, playing off the cold, cruel, and distant properties they both share. Bands like Arcturus, Mesarthim and Mare Cognitum have explored the reaches of the galaxy in their own ways. But the newest forerunners of this particular niche come from an unlikely background. Brothers Alexander and Misha Andronati, 24 and 17 years old respectively, launched Labyrinthus Stellarum back in 2021 and have persisted through the rain of bombs and shrapnel that’s since descended on their hometown of Odesa, Ukraine. Vortex of the Worlds is their second album, and it has made weekly returns to my spaceship comms ever since I first heard it back in April.

Labyrinthus Stellarum plays a brand of melodic black metal infused through and through with synthesizer magic, piping futuristic trance through aggressive metal assaults. Taking care of lead melody and atmospherics alike, the versatility of the keys and their expert implementation are the shining stars here. There are traces of pre-hiatus …and Oceans, as well as Mesarthim. But Vortex of the Worlds is more organic and atmospheric than the former, yet more concrete and grounded than the latter. Abandoning the screams and guitars would still leave you with an awesome science fiction soundtrack, something that would not be amiss in a Metroid game or No Man’s Sky. But the rhythm guitar, intelligently programmed drums and Alexander’s raw scream combine with the bleep-bloops into a more sinister spectacle, ready to summon unknowable beings from across the universe.

The addictiveness of Labyrinthus Stellarum is down to a level of songwriting far beyond the founders’ years or experience. Every single hook is an absolute banger, from the bouncy blips of “Transcendence” to the quirky split-ascending hook and explosive hard trance of “Interstellar Wandering,” and the lonely echoing melody that sketches a deep space melancholy of the title track. Each of the 6 tracks feels wholly unique, even if some compositional tricks lean towards overuse (the ‘nothing but the synths with an underwater filter’ bridge occurs at least once per song). “The Light of Dying Worlds” is grand and ominous, the soundtrack to Elder Gods tearing down reality, which contrasts with the pulsing nightclub vibes of “Downfall” which outlines an unholy combination of cyberpunk and cosmic horror.

With a tight 37-minute runtime, the album is devoid of fat, even in the longer compositions. The production is slightly woolly, but once I got used to this, it actually feels fitting for an album on the suffocating horrors of deep space. With every spin, Labyrinthus Stellarum amazes me more. The artists are young, their circumstances are harsh, yet the sophistication, eye to detail, and compositional excellence are absolutely out of this world. Vortex of the Worlds leaves you wanting more as soon as the last note fades.

Tracks to Check Out: ”Transcendence,” “Downfall,” “Vortex of the Worlds”

#AndOceans #Arcturus #LabyrinthusStellarum #MareCognitum #MelodicBlackMetal #Mesarthim #SelfReleased #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #UkrainianMetal #VortexOfTheWorlds

Somehow I ended up back in bed napping to #AtmosphericBlackMetal.

Alas, it shall still be my #TheSundayStarter.

Labyrinthus Stellarum ~ Transcendence
https://song.link/s/56m3H4IrnOC3TYdVoELSqA

#AqiIsNowPlaying
#DragoTreasures
#UkrainianMetal
#CosmicMetal
#BlackMetal
#Music

I'm listening to the 2024 album Vortex of the Worlds by Labyrinthus Stellarum for @HailsandAles’ #BlackMetalMonday.

https://album.link/s/7Bx5geWEzBgCCqEfwSSZDr

https://metalpython.pythonanywhere.com/searchandtoot

#AqiIsNowPlaying #DragoTreasures #UkrainianMetal #CosmicBlackMetal #BlackMetal #AtmosphericBlackMetal #Music

Hell:on – Shaman Review

By Holdeneye

There’s nothing quite like the feeling of acquiring some kick-ass band merch, am I right? Whether it arrives via a table at the back of a sweaty, darkened venue or through the postal service, getting my hands on a new shirt, hat, or record is always a delight. But do you ever wonder about the journey that said merch endured before finding its way into your loving embrace? I rarely do, but I found myself in this position when I finally put my hands on the beautiful CD case for Hell:on’s Scythian Stamm, one of my top 10 records of 2020. The band hails from Ukraine, and when Russia invaded their homeland, I decided I’d throw a tiny bit of support their way by ordering said CD. I received a response from the band, telling me that all of their merch was trapped in an office in Kyiv, which, at the time, was under direct Russian attack. When I told them they could keep my money regardless of whether or not they’d ever be able to fulfill the order, they wrote back, “Thank you! It will be shipped if we and/or our merch will survive! We believe in our country as never before, and Ukraine will stay!” I eventually received that CD, and its back story makes it one of the most precious in my collection. Years later, the war for Ukraine still rages on, and fortunately, so does Hell:on. It’s my pleasure to announce that they’re back with a new record, one forged in the flames of an ongoing fight for survival.

For those unfamiliar, Hell:on plays uncompromising death metal embellished by ritualistic influences; they sound like Behemoth might if that band dropped the black metal influences, picked up an assortment of folk instruments from all across Asia, and threw in some throat-singing from the steppes for good measure. These folk elements were used relatively sparingly on Scythian Stamm, and while relistening to that record recently, I found myself hoping that they’d dive into that aspect of their sound whole-heartedly on follow-up Shaman. Apparently, my wish is Hell:on’s command. Shaman dials the ritualism up enormously without losing an ounce of their death metal edge. The embedded single, an ode to Dr. A.N. Grier entitled “He with the Horse’s Head,” might be a fairly straightforward and brutal death metal song, but its riffing is enriched by acoustic strumming, its leads carry Middle Eastern melodies, and it culminates with a trance-inducing rhythm undergirded by throat-singing. It’s just what this Angry Metal non-doctor ordered.

Shaman succeeds because its various elements are exceedingly well-balanced. The album opens and closes wearing its tribalistic heart on its sleeve; opener “What Steppes Dream About” jumps out of the gates with folk instrumentation and throat-singing, while the closing title track finds the band overtly exploring their penchant for atmospheric mysticism. But while intermediate cuts like “Preparation for the Ritual” and “I Am the Path” keep the ritualism high, there are a couple of mostly straight-laced death metal bludgeoners to keep things from becoming too ethereal. “When the Wild Wind and the Soul of Fire Meet” is a slow-moving steamroller rife with heavy palm-muted triplets, while “Tearing Winds of Inner Self” dials the brutality up to dangerous levels as its title simultaneously gives me a fun new way to refer to my out-of-control flatulence.

I can’t find one single thing to complain about on Shaman. It’s nearly a perfect album in my book, and it only gets better the more I listen. The production is big and full, but it still allows the acoustic instruments to cut through the monstrous drums and guitars. Listening to this record has been an excellent analogy for its mystical themes; the deeper I dig, the more I discover. I can’t get over how well Hell:on have woven the acoustic instruments into the death metal sound, and it’s amazing how much heavier the music becomes because of those elements. There really are no standout tracks. At eight songs and 41 minutes, this album consists of one highlight after another.

This is exactly the record that I hoped Hell:on would make. Scythian Stamm sewed the seeds for this hope with its strategic use of tribalistic elements, and Shaman absolutely capitalizes on that foundation. This is a record that I can listen to over and over; its enormous death metal grooves combine with atmospheric ritualism to leave me in a constant state of enthrallment. I wish Hell:on the best as they still struggle to defend their homeland, but I hope they can take some comfort knowing that they’ve just released an Album o’ the Year contender.

Rating: Excellent
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Archivist Records
Websites: hellonband.bandcamp.com | facebook.com/hellonofficial | www.hell-on.net
Releases Worldwide: May 17th, 2024

#2024 #45 #ArchivistRecords #Behemoth #DeathMetal #HellOn #May24 #Review #Reviews #Shaman #UkrainianMetal

They Came from Visions – The Twilight Robes Review

By Doom_et_Al

I’ve always found the notion of “folk horror” to be altogether more ominous and scarier than psychopaths stalking teenagers. Rural settings, pagan beliefs, blood sacrifices, normal people committing terrible acts in the name of terrifying superstition … this is all deeply compelling stuff. They Came from Visions, an anonymous Ukrainian black metal outfit, clearly agrees. Sophomore album, The Twilight Robes, is positively steeped in folk horror, positioning each of its songs as a vignette, explaining the arrival of mysterious strangers called – you guessed it! – The Twilight Robes – who visit horror and despair upon an unsuspecting world, causing them to act in violent and depraved ways. This simple, yet compelling, theme is emphasized by the gorgeous, uncluttered album art. The fact that this comes from Ukraine, a country currently at war, only heightens the allegory. So far, so good. But does the music match the lofty aims of the band’s themes?

Mostly! They Came from Visions are, first and foremost, a black metal band, with one foot in the atmospheric camp and another in the melodic. There are rasped, wretched vocals, a raw production, and instrumentation with a distinctly medieval flavor to it. When it comes together, there is an indelible sense of atmosphere and foreboding, reminding me of European contemporaries Vehemence, albeit a lot less polished. The songs are surprisingly melodic, often building around central riffs that may not be earworms, per se, but are definitely on the catchier side. Check the central melodies of “Equinox Ablaze” or “Burning Eyes Blackened Claws.” The downside is that, like too many bands these days, the songs occasionally go on too long, draining them of some of their punch.

What really holds The Twilight Robes together so well is how beautifully the concept and the music are melded. The stories are horrifying – in the aforementioned “Equinox Ablaze,” for example, we hear about a village that burns its own citizens alive to appease the Harvest Gods. Yes, this is very Wicker Man-esque, but the band treat the subject matter with solemnity and seriousness, making it far more like the Christopher Lee version than the Nicolas Cage one. The harshness of the music combines with the subject matter like peanut butter and chocolate, resulting in an album that stays thematically consistent throughout its runtime. It does feel like we are witnessing a world slowly being consumed by superstitious darkness. Considering the meager resources available to the band while recording, this is a fantastic achievement.

About that production, though. It really does the music no favors whatsoever. The drums are far too soft, which is a problem when your music is mid-paced and melodic. Instead of thumping rhythm we get anemic pats, which leaches the music of some of its power. The vocals are too prominent, and with little variety in the rasps, quickly become overpowering and somewhat headache-inducing. A few times, I had to stop the album despite enjoying the songs, because my ears were hurting. Maybe I’m just getting olde, but more likely The Twilight Robes needed some more tinkering in the mixing studio. This is all unfortunate because the production missteps draw the listener out of the experience, rather than immersing them in it.

Despite these issues, the good on The Twilight Robes outweighs the bad. The songs are compelling and thematically cohesive. The tone is pitch-perfect and moody, while capturing that unmistakable folk horror aesthetic. With some tighter editing and some tinkering in the production studio, we could have had something truly special. As it is, this is a flawed, yet highly entertaining addition to the “rural” black metal genre.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Eisenwald Records
Websites: theycamefromvisions.bandcamp.com/ | facebook.com/theycamefromvisions/
Released Worldwide: February 23rd, 2024

#2024 #30 #BlackMetal #EisenwaldRecords #Feb24 #FolkMetal #Review #Reviews #TheyCameFromVisions #UkrainianMetal #Vehemence