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Angry Metal Guy<a href="https://www.angrymetalguy.com/incite-savage-new-times-review/" rel="nofollow noopener" target="_blank">Incite – Savage New Times Review</a>By Steel DruhmWritten By: Nameless_n00b_602Within metal circles, one does not simply invoke the Cavalera name. Its crest is adorned with more than just the seminal works of Sepultura. There is ambition there that does not sleep. That great name is ever pushing boundaries, creating new sounds. This is no barren wasteland riddled with fire and ash and dust. There is no poisonous fume for inspiration to choke on. Not with 10,000 artists could you accomplish what those brothers have done; it is folly. Thus, it is with great interest—and a little skepticism—that I was assigned Incite’s seventh LP. Fronted by Max Cavalera’s stepson, Richie Cavalera, Savage New Times promises to be the band’s truest-to-self offering yet. Let’s see how deep the roots go.For those unfamiliar, Incite majors in groove metal. A familiar southern aggression suffuses Layne Richardson’s axe work and Cavalera’s contentious lyrical delivery. Mid-paced tracks like “Used and Abused” or “Savage New Times” take a cue from Lamb of God or Exhorder, while rager “No Mercy, No Forgiveness” could easily fit on an early DevilDriver record. Bassist EL knows his craft well, building tension and promising violence with well-placed, threatening basslines (“Chucked Off,” “Never Die Once”). The instruments make room in verses for Cavalera’s vocal aggression to brew before crashing together in a choral release, and it is here that drummer Lennon Lopez shines. His energetic drumming steals the spotlight on the choruses of “Used and Abused” and “Chucked Off.” With such strong adherence to the tenets of groove metal, Savage New Times makes it clear that Incite has never missed a class at Pantera’s Vulgar School of Power.Incite meets with mixed success when they venture outside their core sound. Richardson shows real prowess on “Used and Abused,” where he evokes both Amon Amarth in the bridge and the spiraling tones of System of a Down in the chorus. “Savage New Times” features leads reminiscent of Cannibal Corpse in the verse and, like “Feel This Shit (I’m Fired Up),” sports a militant burst fire tempo around the midpoint. On the other hand, “Doubts and the Fear” falters with a murky, pseudo-psychedelic bridge and nasally Agnostic Front-tinged vocals. Longest song “Dolores” also struggles. Unlike Phil Anselmo’s softer cleans that match the verses of Pantera’s “This Love,” Cavalera barely dulls his edge for the parallel sections of “Dolores,” creating a sonic disconnect between the instruments and himself. This is exacerbated by a similar divide between the rhythm section and the sprawling, idyllic solo recalling “Hotel California.”More generally, Savage New Times suffers from unambitious songwriting. Except for the neoclassical intro of “Chucked Off” and the solo in “Used and Abused,” Richardson’s lead sections feel lethargic and unremarkable. Song structures feature minimal variation and fall into cyclical verse-chorus-verse-chorus patterns. While this isn’t a problem individually, ten songs of it feels repetitive. Additionally, several tracks lack a satisfying conclusion and feel half-baked. “Dolores” ends with a well-performed piano melody, but it feels tacked on after such a strong finish from the band. Similarly, by cutting their outros, “Lies,” “Feel This Shit (I’m Fired Up),” and “No Mercy, No Forgiveness” could have all ended powerfully rather than aimlessly.While Savage New Times isn’t a terrible album, because of its deficiencies, I often found myself listening to Incite’s influences rather than Incite themselves. There’s plenty to critique between unmoving songcraft and mixed experimentation, but the final nail in the coffin is the production.<a href="https://www.angrymetalguy.com/incite-savage-new-times-review/#fn-220678-1" rel="nofollow noopener" target="_blank">1</a> There’s a slight sibilance and several artifacts throughout Savage New Times. It’s most egregious on “Used and Abused,” ruining one of the record’s best cuts.<a href="https://www.angrymetalguy.com/incite-savage-new-times-review/#fn-220678-2" rel="nofollow noopener" target="_blank">2</a> This is the common trend of the album—otherwise good tracks flawed by preventable missteps. I’ve spun this record dozens of times, and I’m sure that with more confidence and a clearer vision, Incite has a good record in them. Savage New Times just isn’t it. Rating: 2.0/5.0 DR: 8 | Format Reviewed: 192 kbps mp3 Label: <a href="https://shopus.reigningphoenixmusic.com/" rel="nofollow noopener" target="_blank">Reigning Phoenix Music</a> Websites: <a href="http://incite.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.instagram.com/incite_heavymetal/?hl=en" rel="nofollow noopener" target="_blank">Instagram</a> | <a href="http://facebook.com/inciteheavymetal" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: August 15th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/20/" target="_blank">#20</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/agnostic-front/" target="_blank">#AgnosticFront</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amon-marth/" target="_blank">#AmonMarth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cannibal-corpse/" target="_blank">#CannibalCorpse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devildriver/" target="_blank">#DevilDriver</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/exhorder/" target="_blank">#Exhorder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/groove-metal/" target="_blank">#GrooveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/heavy-metal/" target="_blank">#HeavyMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/incite/" target="_blank">#Incite</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lamb-of-god/" target="_blank">#LambOfGod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pantera/" target="_blank">#Pantera</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reigning-phoenix-music/" target="_blank">#ReigningPhoenixMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/savage-new-times/" target="_blank">#SavageNewTimes</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sepultura/" target="_blank">#Sepultura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/system-of-a-down/" target="_blank">#SystemOfADown</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/retching-charming-the-decomposed-review/" rel="nofollow noopener" target="_blank">Retching – Charming the Decomposed Review</a>By SaundersPart of the appeal of my long-standing relationship with death metal is the sheer diversity of the genre and its many sub-genres. There is something for all moods. So while stylistic preferences remain, most forms of death I can happily jam with, whether it be old school primitive clubbings, tech shredding, gnarled dissonance, emotive melodeath, brutal slam, or successful forays of doom, blackened and prog influences into deathly frameworks. But in the end, it’s the genre’s simplified, core values and slimy, grimy atmospheres that warm the heart. Throwing their hats in the old school death revivalist ring, relative newcomers Retching explode out the rusty graveyard gates with a no-nonsense, pretension-free blast of old school death. Seeking to add their own spin and identity to separate themselves from the horde of old school aficionados, while leaving reinvention for other folks, the Rhode Island duo unleash debut, Charming the Decomposed. Let us explore whether Retching possess the songwriting smarts and tools of destruction to make an impact outside of aping the genre’s proud past.Thirty-two minutes is all it takes for Retching to deliver eight slashing cuts of riff-driven, blasty, gore-soaked death, American-style. Charming the Decomposed is an old school brawler with a mean streak, chock to breaking point with parasitic grooves, gut-busting riffs, brutal percussive assaults, and appropriately grisly, brutal vocal eruptions. All that said, Charming the Decomposed doesn’t take itself too seriously, loading the rabid, bloodied collection with a variety of part goofy, part unsettling samples, adding to the album atmosphere, even if they are a little overdone at times (see bludgeoning opener “Moonlight Perversions/Gorging on Ecstasy”). Otherwise, efficient, high-energy cuts are the order of the day, drawing influence from the esteemed likes of early Exhumed, Mortician, Carcass and Cannibal Corpse.“Shower Curtain Silhouette” builds from a rugged, grinding base, ratcheting up tension before exploding into speedy, punk-infused rampages, stomping verses, and skillfully fluctuating tempo shifts. The deceptive songwriting diversity poking through the muck and feral abuse adds a layer of intrigue to otherwise more traditional, blunt force beatings, amid a couple of less impactful tunes. Another of the album’s stronger examples, “Septic Entombment,” features a creative arrangement, allowing breathing space for the meaty, yet wickedly infectious riffs and bouncing grooves to ride shotgun with aggressive, blast-riddled surges. Retching operates effectively in high-speed savagery, yet the writing tends to appeal most when mixed with slower, malevolent tempos, lending a doomy, leaden weight to proceedings, such as the tormenting melodies and ominous vibes emanating from “Fetid Abattoir.”Energy rarely drops, as brutality and raw-boned explosions of speed and blast-riddled mayhem ensue. Retching wisely integrate structural and tempo variety, coupled with razor-fine slivers of melody and raucous, crunchy riffs to stave off monotony and lend the album an infectiously headbangable streak. Along with the aforementioned tunes, this is further highlighted on the brooding, ominous swagger of ‘Vulgar Celluloid Trophy”. The anonymous duo of Latex (drums, vox) and Mondo (guitars) forge a powerhouse combo, perfectly suited to the lean, mean, and cutthroat nature of the album’s tight construction. Latex whips together a punchy, inventive performance behind the kit, proving adept at deploying slower, groovier rhythms and finesse to go with the rip-snorting blasts and thrashy tempos. His serviceable vocals get the job done, adding a gritty, guttural edge. Meanwhile, partner in crime Mondo serves up an unhealthy dose of meaty, genuinely catchy riffs, which, if maintained consistently across the album, may have elevated a solid experience into something more substantial. Still, there is some excellent axework and riffs to sink into.Retching’s impressively no-nonsense debut won’t challenge the upper tier of death metal albums in 2025 or threaten many year-end lists. But what it does, it does well, with a no-fuss, belligerent charm that is easy to like. While there is little fat or unnecessary bloat to be found, the songwriting has room for improvement to live up to the quality of the album’s stronger cuts and create a more consistent, compelling listen. However, signs are bright and the potential promising for Retching to build something more formidable down the track. Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a> Website: <a href="https://retching-label.bandcamp.com/album/charming-the-decomposed" rel="nofollow noopener" target="_blank">Bandcamp</a> Releases Worldwide: August 22nd, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cannibal-corpse/" target="_blank">#CannibalCorpse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/charming-the-decomposed/" target="_blank">#CharmingTheDecomposed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/exhumed/" target="_blank">#Exhumed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mortician/" target="_blank">#Mortician</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/old-school-death-metal/" target="_blank">#OldSchoolDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/retching/" target="_blank">#Retching</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/transcending-obscurity-records/" target="_blank">#TranscendingObscurityRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/panopticon-laurentian-blue-review/" rel="nofollow noopener" target="_blank">Panopticon – Laurentian Blue Review</a>By Mystikus HugebeardWith the mammoth<a href="https://www.angrymetalguy.com/panopticon-laurentian-blue-review/#fn-221008-1" rel="nofollow noopener" target="_blank">1</a> Panopticon ranking and the electrifying Månegarm review behind us, we can now look towards the album that the ranking was made in anticipation of: Laurentian Blue. What we weren’t quite expecting was that Laurentian Blue would be an unusual album to follow the ranking. After ten albums of post-black metal, this is the first standalone Panopticon work of purely dark, folksy Americana.<a href="https://www.angrymetalguy.com/panopticon-laurentian-blue-review/#fn-221008-2" rel="nofollow noopener" target="_blank">2</a> It goes without saying that Americana has ever been a key component to the Panopticon soundscape, so do not mistake “unusual” for “unwelcome.” After all, Laurentian Blue is unquestionably a Panopticon album, for it embodies the same soul of Panopticon’s music that Thus Spoke eloquently illuminated in her introduction to the ranking: “an immense sense of drama, emotional intensity, and an unpretentious, honest heart.”Not only is Laurentian Blue a dark folk/americana album, it is unapologetic about it. Laurentian Blue is confidently written and deliberate in its minimalism. The instrumentation is kept strictly to the bare necessities: Lunn picks and strums away at his guitar as he sings with the warmth of a crackling fire, with sparse, harmonizing violins as accompaniment. The consecutive exceptions come in the twang of “An Argument with God” (which is also the only song with any percussion) and the bluegrass “Irony and Causality,” which serve as welcome jolts to the pacing, but the bulk of Laurentian Blue is the sort of somber Americana in “Ever North” and “This Mortal Coil’s Rusted.” It reminds one of the Appalachia iteration of Osi and the Jupiter, with a stronger country lilt heard most clearly in “Down Along the Border.” While the guitarwork in Laurentian Blue is enjoyable, whether it takes the form of wistful melodies (“The Poetry in Roadkill”) or steely strumming (“Ever North,”) the focus cannot help but rest on Lunn’s voice and lyrical work.As always, Lunn is a commanding songwriter fluent in the emotions he wants a song to convey. Nary a note or a word wasted, cutting straight to the heart of what he wants to express. Laurentian Blue is resolute in its deeply depressive lyricism, which becomes inescapable due to the music’s minimalist nature.<a href="https://www.angrymetalguy.com/panopticon-laurentian-blue-review/#fn-221008-3" rel="nofollow noopener" target="_blank">3</a> Lines like “And if I needed you to watch me slip away // I’ll find you on the other side some day” (“Down Along the Border”) and “the lie that I forced myself to believe // that I never wasted a breath…” (“Ever North”) carry a catharsis that engulfs you, further strengthened by the preternaturally well-timed violins. Sparse though they may be, they’re beautifully implemented, often swelling at just the right moment like in the chorus of “The Poetry of Roadkill.” With focus this unhindered, lyrics that fail to connect are a greater danger to a song’s impact. The Hemingway-esque bluntness of “And morality ain’t dogmatic // but instead practical // and an individual // type of thing” is compelling, but it lacks the poetry present in the rest of the album, and the accompanying music doesn’t sustain the six-minute runtime.Through the poetic lyrical work and musical minimalism, Laurentian Blue is emotionally consistent, yet therein lies what also makes it a more challenging album. Lunn’s voice is kept adamantly deadpan throughout, indifferently asking you to engage with Laurentian Blue according to its own terms rather than manipulating your emotions. This can create a disconnect; as the violins swell and the notes ascend when Lunn sings the first “Look for me // ever north,” (“Ever North”), I selfishly feel unfulfilled when the notes dispassionately descend in the second. Other times, his singing style makes for some compelling friction. “Irony and Causality” is easily the most energetic song, and is a fascinating backdrop for the deadpan delivery of “Nothing matters when you die // you can only hope time flies // and someone will visit your grave.” Maintaining such a somber tone across the album is a deliberate choice, one that works through Lunn’s songwriting finesse. But it’s a sadness that’s more aptly felt when you’re already predisposed to such feelings.Laurentian Blue will not be for everyone. It’s a singular emotional work that doesn’t guide your feelings, but rather presents its own emotions with understated grace and indifference. But it’s only natural that the appeal of a work this personal will ultimately come down to personal preference. Regardless of one’s taste for Americana and dark folk, Laurentian Blue is nevertheless a well-written collection of songs by a well-proven songwriter with a strong connection and understanding of the genre. You might need to be in the right mood for Laurentian Blue, but if that mood should find you, then Laurentian Blue will be a knowing, empathetic embrace. Rating: Very Good DR: 12 | Format Reviewed: 320 kbps Label: <a href="https://shop.bindrunerecordings.com/" rel="nofollow noopener" target="_blank">Bindrune Recordings</a> Websites: <a href="https://www.facebook.com/TheTruePanopticon" rel="nofollow noopener" target="_blank">facebook</a> | <a href="https://thetruepanopticon.bandcamp.com/music" rel="nofollow noopener" target="_blank">bandcamp</a> Releases Worldwide: August 15th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/americana/" target="_blank">#Americana</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bindrune-recordings/" target="_blank">#BindruneRecordings</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/country/" target="_blank">#Country</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-folk/" target="_blank">#DarkFolk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/laurentian-blue/" target="_blank">#LaurentianBlue</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/panopticon/" target="_blank">#Panopticon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/signs-of-the-swarm-to-rid-myself-of-truth-review/" rel="nofollow noopener" target="_blank">Signs of the Swarm – To Rid Myself of Truth Review</a>By Dear HollowI think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?In many ways, To Rid Myself of Truth is the part 2 of predecessor <a href="https://www.angrymetalguy.com/signs-of-the-swarm-amongst-the-low-empty-review/" rel="nofollow noopener" target="_blank">Amongst the Low & the Empty</a>, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and <a href="https://www.angrymetalguy.com/signs-of-the-swarm-absolvere-review/" rel="nofollow noopener" target="_blank">Absolvere</a>, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.<a href="https://www.angrymetalguy.com/signs-of-the-swarm-to-rid-myself-of-truth-review/#fn-220785-1" rel="nofollow noopener" target="_blank">1</a> While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.To Rid Myself of Truth is catharsis for Signs of the Swarm,<a href="https://www.angrymetalguy.com/signs-of-the-swarm-to-rid-myself-of-truth-review/#fn-220785-2" rel="nofollow noopener" target="_blank">2</a> a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.<a href="https://www.angrymetalguy.com/signs-of-the-swarm-to-rid-myself-of-truth-review/#fn-220785-3" rel="nofollow noopener" target="_blank">3</a> Rating: 1.5/5.0 DR: 3 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.centurymedia.com/" rel="nofollow noopener" target="_blank">Century Media Records</a> Websites: <a href="http://signsoftheswarm.bandcamp.com" rel="nofollow noopener" target="_blank">signsoftheswarm.bandcamp.com</a> | <a href="http://signsoftheswarm.com" rel="nofollow noopener" target="_blank">signsoftheswarm.com</a> | <a href="http://facebook.com/signsoftheswarm" rel="nofollow noopener" target="_blank">facebook.com/signsoftheswarm</a> Releases Worldwide: August 22nd, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/15/" target="_blank">#15</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/156-silence/" target="_blank">#156Silence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/century-media-records/" target="_blank">#CenturyMediaRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/djent/" target="_blank">#Djent</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lorna-shore/" target="_blank">#LornaShore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/prison/" target="_blank">#Prison</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/signs-of-the-swarm/" target="_blank">#SignsOfTheSwarm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/to-rid-myself-of-truth/" target="_blank">#ToRidMyselfOfTruth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/whitechapel/" target="_blank">#Whitechapel</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/yer-metal-is-olde-metallica-load/" rel="nofollow noopener" target="_blank">Yer Metal Is Olde: Metallica – Load</a>By Dr. A.N. GrierNext year, one of Metallica’s greatest albums will turn 30 years old. Yup, you guessed it, Load. That’s why I’m writing a YMIO piece for it this year. Not just to break the rules and piss off ole Steelio, but because the band just released a remastered version of this precious little gem. Why would they do that, you might ask? No fucking clue. But, for collectors, you can expect a rather fresh-sounding remaster and roughly 10,000 useless demos and live performances. Not that you can’t find all the live performances you could ever want from Metallica. And whoever the jagoff is that keeps adding them to Metal Archives, fucking stop, ya stupid cunt. And if said jagoff is one of you, kill yourself. Anyway, this remastered version is apparently such big news that when I search for the album on iTunes, I get this ridiculously over-bloated version every time. And I suspect this hit piece will be just as big, forever immortalized as one of the greatest recollections of Metallica’s big, fat Load.Let’s set the stage. It’s the 90s, and things have already gone weird for the band when they hired Bob Rock and dropped their massively successful “Black Album,” splitting their fan base in half while attracting millions of arena-goers all over the world. This led to a strange anticipation during that five-year gap between Metallica and Load. Would they continue on this new path? Or have they got that out of their systems and we’ll return to the days of …And Justice for All? What they did next shocked the world. They cut their hair and put on mascara. The ’80s kids revolted while the hype excited the ’90s kids because they weren’t getting one new album; they were getting two in two years. But Metallica were still metal, right? I mean, they coated their new record in blood and jism, for fuck’s sake. While every kid lied to their mothers about the unsavory artwork, one thing was for sure: the Metallica we all knew and loved was gone forever. Goodbye to the underground tape trading. Say hello to radio rock!Load marks the beginning of fun-loving tunes and addictive choruses, like those found in “2×4,” “Until It Sleeps,” and King Nothing.” It’s also the beginning of filler-filled albums that could have used a haircut as well. Take the best tracks from Load and Reload, and you could have made a single solid album. But no… Instead, the masses have to suffer through two albums with more than a dozen tracks each and roughly two-and-a-half hours of music. That said, of the two records, Load has arguably aged better, bringing interesting concepts that no one would have expected from Het and co., for example, the underrated “Ronnie,” where Hetfield delivers the story of my serial-killing childhood. Load also marks the first time the band wrote a song in a major key with the lyrically charming “Hero of the Day.” The record is so odd that its weirdness is its charm. Plus, those were the times. How many of these classic ’80s bands got sucked into the nightmarish ’90s MTV mentality?The band also began toying with longer closers, much like the old days in Ride the Lightning, though “The Call of Ktulu” is a far sleeker track than Load’s “The Outlaw Torn.” That said, the closer is one of the more memorable tracks on the album. Even though it meanders far too much, the climax is worth it, and the closing riff is a nice bookend to the opener. The other with a similar length is the underrated “Bleeding Me.” In comparison, the journey one takes in “Bleeding Me” is one of the better ones in Hetfield’s dark mind. It’s a surprisingly powerful piece that tears me to emotional ribbons. A phrase I cannot use for “Mama Said.” This song sees Hetfield taking us off the asphalt and onto a dusty desert road with horses and shit. A song that supposedly almost didn’t make it on the album, yet was “good” enough for a music video. Which is hilarious because the rest of the band basically makes a cameo, watching Het ride off into the sunset in a fucking cowboy hat and shit-kicker boots. Otherwise, the rest of the album is filler stuffed with mood-killing interludes, unnecessary crooning, and the time-period piece of shit talk box in “The House Jack Built.”Like my piece on the mighty <a href="https://www.angrymetalguy.com/indefensible-positions-dr-a-n-grier-attacks-defends-st-anger/" rel="nofollow noopener" target="_blank">St. Anger</a>, no one asked for a write-up on one of Metallica’s best Bob Rock records. It’s not metal or the Metallica of the ’80s, but times were a-changin’. But, after the great success the band had with their self-titled record, do you blame them for taking this direction? While every metalhead bashes on this record, it’s not like it was a financial failure. Kids at the time flocked to this fucking record, attracted to the groovy, bluesy riffs and personal emotion of Hetfield’s lyrics. While there are plenty of flaws, and so much wah-wah pedal that the band decided to cut out solos for St. Anger, I’d spin this lengthy record far more than any of the rest of the shit that came out. I mean, at least they didn’t do a hip-hop collaboration like Anthrax. Load and Reload were not the albums any fan wanted, but, for better or worse, Load began a new era for Metallica, and they really didn’t give a fuck what we thought. So, do yourself a favor, listen to the crisp remastered version, relive your Zack Morris years, and don’t waste your hate on Met. Also, pull up your pants and cut your fucking hair.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/1996/" target="_blank">#1996</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anthrax/" target="_blank">#Anthrax</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/elektra-records/" target="_blank">#ElektraRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/groove-metal/" target="_blank">#GrooveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/load/" target="_blank">#Load</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metallica/" target="_blank">#Metallica</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/yer-metal-is-olde/" target="_blank">#YerMetalIsOlde</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/firstborne-lucky-review/" rel="nofollow noopener" target="_blank">Firstborne – Lucky Review</a>By Angry Metal GuyWritten By: Nameless_n00b_604What does it mean to be Firstborne? What does it mean to be carried or transmitted—borne—by First? This is a question likely left unpondered by the band Firstborne, who are too busy carrying the hard rockin’ glories of the past into the present and transmitting rollicking good times to the masses to care for such trifles. Comprised of ex-Lamb of God drummer Chris Adler, Girish and The Chronicles singer Girish Pradhan, and guitar journeyman Myrone, Firstborne’s sophomore album, Lucky, is the product of decades’ worth of collective experience and professional toil. They have the know-how. They have the chops. They have an awful name. But do they have the songs?Firstborne is here for a good time, not for a long one. Across ten tracks and thirty-seven minutes, Firstborne provides high-energy, blues-infused hard rock that dabbles in thrash and punk. Songs like “Again (Lucky)” and “Prometheus (Nicotine Chris)” showcase Firstborne at their most meat-n’-taters as they brandish big riffs, slithering basslines, and huge, gravelly vocals that fit the rock radio mold. “Shine” and “Only a Fool” ooze greasy, bluesy rock while thrashers “Wake Up (It’s a God Damn F_cking Scam)” and “Human Interrupted” feel like takes on Anthrax and Testament, respectively. The biggest standouts on Lucky, “Rescue Me” and “Minefield (Ohhh Face),” are easily its highlights, the former adorning its Thin Lizzy-meets-Guns N’ Roses country rock with the most addicting chorus I’ve heard all year and the latter machine-gunning through Iced Earth triplets, Pennywise punk ‘woah’s and a surprise interpolation of Iron Maiden’s “The Trooper.” Brief and easy-listening, Lucky won’t open your mind to new artistic horizons, but it will open some pits on tour.When Lucky works, it works because Firstborne knows how to let loose. Adler’s drumming, while not as rhythmically intense as on his Lamb of God material, is still tight and precise, and some of his signature double kicks do make appearances on “Again” and “Only a Fool.” Girish is a powerhouse belter, and his grunge grizzle and layered harmonies on “Shine” and “Prometheus” evoke Alice in Chains. But Myrone’s guitar soloing is the star of the show, navigating between uninhibited shredding (“Minefield,”) Slash-like bends (“Rescue Me,”) somber acoustics (“Heavens Return”), and southern blues on “Shine” so dank he doesn’t make it talk so much as make that shit drawl. Sometimes the band can get too loose, veering into plain goofiness on the upper-class-bashing “Only a Fool” when they espouse that “Sushi dinners are hotdogs at night.”<a href="https://www.angrymetalguy.com/firstborne-lucky-review/#fn-220623-1" rel="nofollow noopener" target="_blank">1</a> Nonetheless, Firstborne can be a lot of fun when they break out and just let it rip.But too often, the lads in Firstborne box themselves in with unimaginative songwriting. Frequently, they will sink into a groove, riff, or melody and rigidly stick to it well past its prime. This leads to real snoozers like “Normandy (The Crime Mind Anthem)” and “Prometheus,” which both plod through their runtimes with cheerless riffs and stock vocal melodies. Similarly, “Shine” and “Heavens Return” both aim for quiet-verse-loud-chorus formats but end up just boring, where the former’s “Lose Yourself” soundalike riff becomes irritating with overexposure and the latter’s sluggish chorus lands with a wet thud. These issues are further boxed in by Lucky’s brick-walled mix and sterile production. Not only does its short runtime feel much longer due to listening fatigue, but a lack of dynamics undermines any power or punch that songs like “Shine” and “Heavens Return” aspired to. Hard rock thrives on warm tones and breathable mixes,<a href="https://www.angrymetalguy.com/firstborne-lucky-review/#fn-220623-2" rel="nofollow noopener" target="_blank">2</a> which this package just doesn’t allow for. Firstborne should dig deeper for more on album number three, both from their songwriting and their production.Even though Lucky can be a frustrating listen, it still offers glimpses of what Firstborne can be. I’ll be humming “Rescue Me” all year, and even some of the songs I didn’t like have gotten stuck in my head throughout my time with Lucky. If Firstborne bequeaths every song on their next album the dynamite they brought to the highlights of Lucky, it’ll be a rager of an album indeed. But as is, Lucky is a fun, yet flawed, collection of throwback tunes worthy of any carefree highway cruise or rowdy house party. It’s not a sushi dinner, but a hot dog at night’s not so bad either. Rating: Mixed DR: 5 | Review Format: 320 kb/s mp3 Label: M-Theory Audio Website: <a href="https://thefirstborne.com/home" rel="nofollow noopener" target="_blank">thefirstborne.com</a> | <a href="https://firstborne.bandcamp.com" rel="nofollow noopener" target="_blank">firstborne.bandcamp.com</a> | <a href="https://www.facebook.com/firstborneofficial/" rel="nofollow noopener" target="_blank">facebook.com/firstborneofficial</a> | <a href="https://www.instagram.com/firstborneofficial/?hl=en" rel="nofollow noopener" target="_blank">instagram.com/firstborneofficial</a> Releases Worldwide: August 8th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alice-in-chains/" target="_blank">#AliceInChains</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/anthrax/" target="_blank">#Anthrax</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/firstborne/" target="_blank">#Firstborne</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/girish-and-the-chronicles/" target="_blank">#GirishAndTheChronicles</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/guns-n-roses/" target="_blank">#GunsNRoses</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/iced-earth/" target="_blank">#IcedEarth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/iron-maiden/" target="_blank">#IronMaiden</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lamb-of-god/" target="_blank">#LambOfGod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lucky/" target="_blank">#Lucky</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pennywise/" target="_blank">#Pennywise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/testament/" target="_blank">#Testament</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thin-lizzy/" target="_blank">#ThinLizzy</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/farseer-portals-to-cosmic-womb-review/" rel="nofollow noopener" target="_blank">Farseer – Portals To Cosmic Womb Review</a>By TymeGrowing up together in the Chicago suburb of Cary, Farseer’s Brendan McCarthy (guitars/vocals), Ted Ballantine (guitar), George Burrows (bass), and Kyle Curtis (drums) have been playing music together since the 8th grade. It wasn’t until they returned to the Chicago area after college, the four intent on applying their years of collaboration to a single, focused project, that Farseer formed in 2016. Their 2019 self-titled debut constituted forty-six minutes of progressively psychedelic stoner sludge, setting a solid foundation for Farseer to build from. Now six years on, stalwart line-up intact, Farseer prepare to release their second record, Portals To Cosmic Womb. With some very Burke-ish cover art courtesy of Ryan T. Hancock, a matured, less stoner logo, and a FFO rap sheet including Mastodon, Opeth, and Elder, I sensed Farseer had ascended to a higher level of seriousness, and I was excited to hear what Portals To Cosmic Womb would birth.Culling most of the psychedelic and stoner-rock elements, Farseer’s sound has evolved, now rooted in deathly progressive sludge and post-metallic atmospheres. Notably absent from Portals to Cosmic Womb are the meandering instrumental tracks that dominated Farseer, along with McCarthy’s occasional flirtation with clean vocals. Here, he sticks solely to his powerfully effective growls, which sound like a slightly raspier Mikael Åkerfeldt. McCarthy’s and Ballantine’s guitar heroics either ebb with crushing, Mastodonically substantial riffs (“The Supreme Note of Suffering”) or flow in rivulets of delicately strummed chords and gently plucked leads that build, Wayfarer-like (“The Abomination Renders the Poor Man Speechless”) to crescendo. Creeping below these intricate melodies, captured beautifully by Brad Boatright’s master, are Burrows’ weighty, winding bass lines and Curtis’ thunderous drums, which pound forth when riffs command, and retreat as atmospheres demand. Farseer guides us through the cosmic bog, a place lyrically steeped in pools of altered reality that bubble with existential dread, populated by the anxiety-inducing absurdities of societal modernity lurking within the Cthulhuian shadows.Portals to Cosmic Womb is dripping with highlights. Like “Endless Waves of Obliteration,” which, true to its namesake, undulates between massively heavy riffs intertwined with cavernously snarling vocals, a passage of driving, Gojira-like chugs, then on to a bass- and drum-heavy interlude laced with delicate, Eastern-tinged leads. Its chorus is still living rent-free in my head. Then there’s my personal favorite, “Gentleman’s Bookshelf,”<a href="https://www.angrymetalguy.com/farseer-portals-to-cosmic-womb-review/#fn-220919-1" rel="nofollow noopener" target="_blank">1</a> that begins with pulsating drums and propelling riffs sluiced by a deluge of glistening, post-metal tremolos before going full-on Leviathan mode for McCarthy’s verse work. Then, the track plunges into an interlude fat with intricate drum fills, noodling bass lines, and subtly mournful leads, before building back in intensity to finish with Mastodon-like majesty. Having spent time with their debut, this Farseer seems well-matured, and their ability to write meaningful yet memorable songs has improved markedly, casting Portals to Cosmic Womb as a dark mistress, whose mysteries continue to unravel with subsequent spins.As if constructed from a blueprint of Opethic design, Farseer crafted Portals to Cosmic Womb with a near effortless flow. It’s six songs, spanning a very manageable forty minutes, find Farseer merging the best parts of those meandering instrumentals into rock-solid compositions that, like spring and neap tides, rise and fall with dramatic intensity. There is one ripple in the water, though, and that’s the album closer “The Daneri House.” While there’s nothing inherently wrong with the track, I rather enjoyed the last sixty seconds’ flanger modulation on the guitars, which gave the ending a spacy, almost Pink Floydian texture. It is the album’s most progressive song, with its growling vocal first beginning and complex time signatures that, as the final track took me out of the experience Farseer had provided and would have been better placed after “Gentleman’s Bookshelf,” leaving “The Abomination Renders the Poor Man Speechless” to bring the album to a resounding close. Farseer basting in their creative juices over the past six years has resulted in a vastly improved product, as Portals to Cosmic Womb shatters any notions of a sophomore slump. Should Farseer continue along the path they’ve set here, I anticipate a record deal soon. With Portals to Cosmic Womb, Farseer now enters the pantheon of great Chicago artists as a genuine contender, and one you should definitely take note of. And while September looks to be shaping up as one of the better release months this year, Farseer will undoubtedly stand as one of the brighter spots in not only August, but 2025 for sure. Rating: 3.5/5.0 DR: 6 | Format Reviewed: ALAC Label: Self-Released Websites: <a href="https://farseerofchicago.bandcamp.com/album/portals-to-cosmic-womb" rel="nofollow noopener" target="_blank">Bandcamp</a> |<a href="https://www.facebook.com/farseerofchicago" rel="nofollow noopener" target="_blank"> Facebook</a> Releases Worldwide: August 22nd, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/farseer/" target="_blank">#Farseer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/gojira/" target="_blank">#Gojira</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mastodon/" target="_blank">#Mastodon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/opeth/" target="_blank">#Opeth</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/portals-to-cosmic-womb/" target="_blank">#PortalsToCosmicWomb</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-released/" target="_blank">#SelfReleased</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sludge-metal/" target="_blank">#SludgeMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wayfarer/" target="_blank">#Wayfarer</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/vindicator-whispers-of-death-review/" rel="nofollow noopener" target="_blank">Vindicator – Whispers of Death Review</a>By Steel DruhmNew thrash doesn’t hit my ears as much as it used to, and more than any other metal genre, it seems the hardest to effectively recreate outside of its original boom era (1983-1990). There were shining moments in the Great Rethrash Movement that kicked off in 2000, and sure, the Big Dawgs have managed to drop surprisingly spry platters here and there.<a href="https://www.angrymetalguy.com/vindicator-whispers-of-death-review/#fn-220827-1" rel="nofollow noopener" target="_blank">1</a> We know thrash can still deliver a WOW factor when executed at a high level, and even when it falls short and doesn’t blow your doors off, it can still be a good rowdy time. That brings us to Ohio Sons Vindictor. They’ve been banging it out since 2005 and have 4 albums under their belt, the last 2 of which received favorable coverage from AMG Himself. Now we get the fifth outing, Whispers of Death, and with it a whole lot of old school thrash enthusiasm. Can these Mid-West thrashards keep the momentum going in these lean years of thrash n’ bash? The speed world certainly needs a hero.Opener “Whispers of Death…Anxiety’s Grip” puts a good boot forward with satisfyingly crunchy riffs and an over-the-top energy commitment. Olde/new frontman Marshall Law (I know) serves up blackened rasps, harsh thrash barks, and proto-death croaks, always sounding like he’s having a major emotional crisis and needs a hug. The backing riffs are high-octane and effectively brain-shaking, and there’s a goofy vibe behind it all that reeks of acts like Tankard, but it never gets too tongue-in-cheek. There’s a lot of impressive fretboard showmanship, and things are kept bouncy and agitated even as the song pushes against the 6-minute mark. “Charnal Pastures” ups the heaviness factor, going for something like blackened thrash and reminding of Skeletonwitch at points. It’s a wild, reckless ride off a cliff, and Law gives it his all. “Thirst for Violence” also rips shit up, approaching Demolition Hammer levels of speed and fury and even flirting with death-thrash. It’s good unholy fun.Sadly, there is a second-half dip, with a few songs hitting less intensely and leaving fewer bruises. “Exhaustion” is a punky crossover type song that’s goofy but not especially interesting, though it gets points for reminding me of legendary Long Island hardcore act Crumbsuckers.<a href="https://www.angrymetalguy.com/vindicator-whispers-of-death-review/#fn-220827-2" rel="nofollow noopener" target="_blank">2</a> “Bleed Between the Lines” isn’t bad, but it feels generic and a bit underwhelming. However, there are some winners to be found as the album winds out. “Merry Evenings Make Sad Mournings” is an ode to excessive imbibing and the regret that comes with it. It’s a rip-ride that Tankard will wish they wrote 30 years ago, and Law screaming, “I’m never drinking again!” is a sentiment we can all relate to. Penultimate cut “Ripper Attack” marries Accept-style metal riffs with thrash leads for a fist-pumping, stadium-ready bomber about murder and mayhem that sounds way happier than it should. There are 2 interludes included, and “Abominable Intelligence” is a sort of instrumental with spoken word that falls into the interlude box as well. None of these are bad, but they feel unnecessary. At 45 minutes, Whispers of Death would be stronger and tighter with these removed.Billy Zahn and Vic Stown are a potent axe tandem with a lot of ability. There’s no shortage of effective thrash riffage flying around, and when it comes time to wank the noodles, these cats burn the night down. I appreciate the inclusion of traditional and black metal elements into their work product as well. Marshall Law goes for broke from minute one to minute done with a collection of different vocal approaches. His base thrash snarl is effective, and his forays into black/death extremity add to the fun. Bassist Ed Stephens (Ringworm, Shok Paris) has chops, and he’s fairly audible, adding a meaty low-end rumble and twang. New drummer Glen Monturi also acquits himself well, offering a nonstop barrage of blasts, rolls, and toms trucking. It’s only the consistency of the writing that holds Whispers back from that next tier of thrash goodness.Whispers of Death is a frantically entertaining thrash outing by a band that loves the genre dearly. It’s not going to make year-end lists or bring speed back in fashion, but it’s the kind of thrasher you can air guitar along with as you chug shitty beers with quality hooligans. That’s why we blast this shit, so Vindicator knows their audience and feeds it properly. That’s good enough for me in 2025. Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: <a href="https://roxxrecords.com/collections/no-life-til-metal" rel="nofollow noopener" target="_blank">No Life ’til Metal</a> Websites: <a href="https://vindicator.bandcamp.com/album/whispers-of-death" rel="nofollow noopener" target="_blank">vindicator.bandcamp.com</a> | <a href="https://www.facebook.com/vindicatormetal" rel="nofollow noopener" target="_blank">facebook.com/vindicatormetal</a> | <a href="https://www.instagram.com/vindicatormetal" rel="nofollow noopener" target="_blank">instagram.com/vindicatormetal</a> Releases Worldwide: August 22nd, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/communal-decay/" target="_blank">#CommunalDecay</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/demolition-hammer/" target="_blank">#DemolitionHammer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/havok/" target="_blank">#Havok</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/no-life-til-metal-records/" target="_blank">#NoLifeTilMetalRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/skeletonwitch/" target="_blank">#Skeletonwitch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/united-we-fall/" target="_blank">#UnitedWeFall</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vindicator/" target="_blank">#Vindicator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/whispers-of-death/" target="_blank">#WhispersOfDeath</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/patriarchs-in-black-home-review/" rel="nofollow noopener" target="_blank">Patriarchs In Black – Home Review</a>By SaundersRandom dunks into the promo sump yield a variety of interesting, if uneven results. The element of risk and getting lumped with an unlistenable dud is counteracted by the odd chance of scooping up an unheralded stunner, or the next big thing. New York/New Jersey duo of scene veterans Dan Lorenzo (Hades, Non-Fiction) and Johnny Kelly (Type O Negative, Quiet Riot, Danzig) formed Patriarchs In Black several years back. Despite a relatively short career, the duo, armed with various guest musicians and vocalists, arrive at their fourth album, simply titled Home. Featuring an array of well-known and lesser-known guests, it almost feels like a compilation rather than a traditional album. This is especially evident through the varied musical terrain the seasoned vets traverse, exploring diverse and occasionally questionable musical territory with impressive ambition and a broad sense of adventure. Can this genre-hopping, vocal-swapping fest hit the mark and result in a compelling and cohesive listening experience?Home is an odd duck album, both adventurous and perplexing. At nearly an hour in length, Patriarchs in Black cram tons of material and excessive ideas into its weighty runtime, featuring a colorful cast of supporting characters, predominantly filling the restlessly shifting vocal duties. Musically, Lorenzo and Kelly boast big match experience and tight, punchy chops as they hyperactively shift between genres. The album fits both comfortably and loosely under the stoner/doom metal banner, yet this label only scratches the surface of the band’s repertoire. Elements of hard rock, southern rock, blues, nü, modern alt rock/metal, rap rock, and a swathe of ’80s and ’90s metal influences, lending retro flavors to the more contemporary and streamlined modern rock and metal tropes. It’s the old everything but the kitchen sink approach for better and worse.A snapshot of the guest vocalists finds contributions from Mark Sunshine (Unida, RiotGod), Kyle Thomas (Exhorder, Alabama Thunderpussy), Karl Agell (ex-Corrosion of Conformity, Legions of Doom), Dewey Bragg (Kill Devil Hill), John Kosco (Dropbox) and Rob Traynor (Black Water Rising) amongst others. Sunshine’s impressive pipes feature most prominently, including channeling Axl Rose and Chris Cornell on the sludgy, grungy groove of “Burn Through Time,” while adding some melodramatic theatrics with mixed results on “Celestial Yard.” Opener “Hymns for the Heretic” benefits from the well-worn grit of Kyle Thomas’s vox, pairing with infectiously bluesy, heavy rock-drenched riffage and fat stoner grooves. “The Call” keeps momentum rolling, as veteran Agell punches out an inspired performance atop a beefy and melancholic doomy rock base. “Storm King” is another gritty, noteworthy cut, riding some infectious, Clutch-esque grooves, featuring booming riffs and vocal grunt. Shit gets decidedly weirder as the strange journey hits some left-field bumps. “Kaos” livens energy and aggression, throwing down some angsty, goofy vox and meatheaded grooves to jarring, nü metal-adjacent effect. There are ill-advised, lamely executed rap rock ditties (“Where You Think You’re Going,” “Ready to Die”), and a decent modern blues rock number (“Enough of You”) that sounds awkwardly out of place, even by the album’s haphazard standards.Throw in a couple of overcooked songs lengthwise, and short, questionable interludes, including the jokey “The End,” a fittingly silly way to climax the album, and you are left with a unique and strange album. Home has fun elements and a handful of enjoyably groovy tunes and inspired vocal additions. Lorenzo and Kelly are skilled, seasoned musicians, sounding as though they are having loads of fun across intersecting and occasionally disparate genres, excelling most when delivering thick, bluesy stoner doom riffs and swaggering grooves. Unfortunately for all its charms and oddities, Home remains hamstrung by numerous less-than-stellar factors bogging it down. The length and choppy nature of the writing song-to-song makes for an overloaded, inconsistent and messy front-to-back listen. And while never dull, it’s an exhausting listen, marred by sizable missteps and too many clunky moments to overcome.One of the more intriguing albums I’ve heard in 2025, Home is an odd curiosity that could eventually fit into a time capsule equivalent of ’90s Metal Weirdness. While there are solid tunes and cool jams scattered across the album, the pros are dragged down by the cons. Entertaining and confounding in nearly equal measures, Home is hampered by considerable bloat, clunky flow and ill-advised experiments and stylistic decisions, resulting in a curious, if sadly mixed bag collection. Worth a listen to cherry-pick the gems, but prepare yourself for a rocky journey. Rating: 2.5/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: <a href="http://www.metalville.de/" rel="nofollow noopener" target="_blank">Metalville</a> Websites: <a href="https://patriarchsinblack.bandcamp.com/" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/people/Patriarchsinblack/61559097640883/" rel="nofollow noopener" target="_blank">Facebook</a> Releases worldwide: August 15th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alabama-thunderpussy/" target="_blank">#AlabamaThunderpussy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/clutch/" target="_blank">#Clutch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/corrosion-of-conformity/" target="_blank">#CorrosionOfConformity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/danzig/" target="_blank">#Danzig</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/exhorder/" target="_blank">#Exhorder</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hard-rock/" target="_blank">#HardRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/home/" target="_blank">#Home</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kill-devil-hill/" target="_blank">#KillDevilHill</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/legions-of-doom/" target="_blank">#LegionsOfDoom</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metalville-records/" target="_blank">#MetalvilleRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/patriarchs-in-black/" target="_blank">#PatriarchsInBlack</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/quiet-riot/" target="_blank">#QuietRiot</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rap-rock/" target="_blank">#RapRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/riotgod/" target="_blank">#RiotGod</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/southern-rock/" target="_blank">#SouthernRock</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/stoner-metal/" target="_blank">#StonerMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/type-o-negative/" target="_blank">#TypeONegative</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/unida/" target="_blank">#Unida</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/abhorrent-expanse-enter-the-misanthropocene-review/" rel="nofollow noopener" target="_blank">Abhorrent Expanse – Enter the Misanthropocene Review</a>By Dear HollowHow experimental is too experimental? That’s the question Chicago’s Abhorrent Expanse posits. It’s clear from the title: Enter the Misanthropocene enters to play jazz and fuck shit up, and “Bitches Brew” is on its final notes. When the Lord of the Promo Pit designated the quartet as “death-drone,” I was intrigued and gobbled up rights. It was clear from the jump that Abhorrent Expanse was not the death metal act with a mammoth guitar tone I had hoped, but an improvisational free jazz quartet that decides to do extreme metal sometimes, with death metal, grindcore, and, yes, drone metal making short-lived appearances. Pushing the boundary between extreme lofty experimentation and outright nonsense, Enter the Misanthropocene is a sophomore effort that will take you to an abstract and uncompromising world – or straight to the medicine cabinet for an aspirin.Abhorrent Expanse has a solid lineup, including caliber from Zebulon Pike, Celestiial, Obsequiae, and The Blight – even if its sound feels entirely convoluted. Following the controversial debut Gateways to Resplendence, Enter the Misanthropocene is largely the same, but its scope is larger, significantly reducing its drone content in favor of jazzy noodling, grind intensity, sprawling ambiance, and deconstructed death metal jaggedness. The drone that exists within is a short-lived sprawl that pops up periodically, giving a more abstract feel than its predecessor’s “dissodeath meeting drone metal in a dark alley behind the Kmart” vibe. Forty-eight minutes of whiplash-inducing tonal and tempo shifts, off-key twanging, random stoner sprawls, and an undeserved love for improv awaits – and I need a nap.Say it with me: improv is bad. I get the whole avant-garde approach that John Zorn would drool over, that an improvised performance is a “never see it the same way twice” kind of deal, but that doesn’t mean it’s good. As we’ve seen with typically good bands like Neptunian Maximalism or Bunsenburner, relying on group chemistry instead of thoughtful songwriting to create a singular experience hardly pans out – and Enter the Misanthropocene is no exception. Moments of avant-garde clarity in which the instruments align shine in the twitching obscure grind (title track, “Assail the Density Matrix,” “Dissonant Aggressors”), short-lived minimalist drone (“Praise for Chaos,” “Dissonant Aggressors,” “Ascension Symptom Acceleration”), haunting ritualism (“Waves of Graves”), and ambient calm (“Kairos”). Death growls are sparse. Enter the Misanthropocene is so free jazz and avant-garde it forcibly drags nonconsenting listeners into what seems like obscenely high art……Or incompetent musicianship. Much of Abhorrent Expanse’s sound is rooted in utter nonsense, and one that often gets played really fast. While there’s certainly artistic discomfort aplenty to be found on this record, in which I can see some merit (“Waves of Graves,” “Drenched Onyx”), these are scattered moments among what sound like the plonks and twunks of a novice fiddling with a new guitar at Guitar Center. Atonal noodling and off-beat drumming accounts for the majority of its forty-eight minute runtime, sounding entirely random. The drone-doom moments feel off-beat and misaligned (“Praise for Chaos”), some ambient moments are so subtle and minimalist that they just cover John Cage’s 4’33” for a bit before eventually becoming audible (“Nephilim Disinterred”), and by the end of the ten-minute closer “Prostrate Before Chthonic Devourment” you might feel like you’ve been through a prostrate exam.The promotion around Abhorrent Expanse relies on similarities to dissonant acts like Portal and Imperial Triumphant – but in order to do that, they’d actually have to write some songs first. Gateways to Resplendence was challenging and avant-garde but anchored to a respectable degree; Enter the Misanthropocene is a leaf on the wind, being blown by one avant-garde gust to another with no semblance of gravity to save it. Its high-art status is a divisive issue, as the directionless noodling can be seen as either a challenging piece of art or four dudes who don’t know how to play their instruments. But isn’t that the nature of art itself? Abhorrent Expanse holds a mirror to art itself, making us question what is drivel and what is erudite – through the improvised off-key noodling of someone who has arguably never picked up a guitar before. Rating: 1.0/5.0 DR: 9 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.amalgamusic.org/" rel="nofollow noopener" target="_blank">Amalgam Music</a> Websites: <a href="http://abhorrentexpanse.bandcamp.com" rel="nofollow noopener" target="_blank">abhorrentexpanse.bandcamp.com</a> Releases Worldwide: August 15th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/1-0/" target="_blank">#10</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abhorrent-expanse/" target="_blank">#AbhorrentExpanse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amalgam-music/" target="_blank">#AmalgamMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ambient-metal/" target="_blank">#AmbientMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bunsenburner/" target="_blank">#Bunsenburner</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/celestiial/" target="_blank">#Celestiial</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dissonant-death-metal/" target="_blank">#DissonantDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/enter-the-misanthropocene/" target="_blank">#EnterTheMisanthropocene</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/free-jazz/" target="_blank">#FreeJazz</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grindcore/" target="_blank">#Grindcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/imperial-triumphant/" target="_blank">#ImperialTriumphant</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/john-cage/" target="_blank">#JohnCage</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/john-zorn/" target="_blank">#JohnZorn</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/neptunian-maximalism/" target="_blank">#NeptunianMaximalism</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/noise/" target="_blank">#Noise</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/obsequiae/" target="_blank">#Obsequiae</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/portal/" target="_blank">#Portal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-blight/" target="_blank">#TheBlight</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/zebulon-pike/" target="_blank">#ZebulonPike</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/cruel-bomb-cruel-bomb-review/" rel="nofollow noopener" target="_blank">Cruel Bomb – Cruel Bomb Review</a>By TymeWilkes-Barre, Pennsylvania, is home to self-proclaimed ‘thrash metal titans,’ Cruel Bomb. Since forming in 2018, Cruel Bomb has released three EPs—2019’s Manhattan Mischief, 2020’s Trinity Terror, and 2022’s Man Made—while touring extensively along the East Coast. Now, wrapped in an energetically bright and nuclearly holocaustic package courtesy of artist Ed Repka, Cruel Bomb prepares to drop their eponymous, independent debut album. Crafting your debut as a nod to the Big 4, while not entirely original, does come with certain expectations, at least for this reviewer. So, I mindfully sat down to pen my missive, wondering if Cruel Bomb would be the band to put Wilkes-Barre on the thrash map, or if they’d blown their whole wad requisitioning that cool cover art.Cruel Bomb never reaches the other side of the crossover bridge with a sound more hardcore than thrash. Kenny Barto and Brandon James lay down formulaically straightforward riffs of the speedy, chuggy, and breakdown variety. And ohh, the breakdowns. Present throughout, they keep Cruel Bomb planted primarily in Hatebreed and sometimes, Power Trip territory. I also sensed whiffs of Slayer lurking about via harmonic leads (“Hell Hounds”) and Hell Awaits-like chugging (“Night of the Hunt”). Barto’s solo work makes brief appearances, which are either noodly and short-lived (“Target Neutralized”) or comprised of fretfully executed dive bombs (“Glass House”). Nick Hennebaul’s bass lines—perkily plucked and punky—permeate Cruel Bomb’s low spaces and are audibly satisfying, a result of the production job from Novro Studios, while Kyle McKeown rounds out the rhythm section and does a decent job D-beating his way through Cruel Bomb, his performance enhanced by flourishing fills and machine-gun double kicks. Vocals are hard, core, and shouted, courtesy of Brandon James, and though effectively executed, sound so much like Jamey Jasta, it was hard for me to pick out moments that didn’t remind me of Hatebreed. Framed by formula and trope, Cruel Bomb’s thrash is just hardcore in sheep’s clothing.Mainly a mix of homogenized moments, there were a few points during Cruel Bomb that I found more engaging. Not only due to the strange, cartoonish voice at the beginning, “Hell Hounds” stood out because of its lively bass work, mid-paced thrashery, and an interlude where everything stops long enough for Brandon to scream, ‘Retreat?! We just got here!” before launching into the tracks second half. I also took note of the stanky grooves and great chorus of “Gravemind” in addition to the speedy riffs and lengthiest solo work—a whammy-tinged fret-du-jour preceded by a nice little guitar lick—on “The End.” Beyond these flashes, however, most of what Cruel Bomb does is awash in waves of similitude cannibalizing off one central idea, riff/breakdown/riff/repeat.As good a production job as Eric Novroski did, providing enough organic spaces for Cruel Bomb’s instrumentation to thrive, a lack of dynamic songwriting and a no-escape-from-the-vocals approach hold Cruel Bomb back the most. Obligatory intro and the aforementioned “Hell Hounds” aside, every other track on Cruel Bomb starts one of two ways, with a speed happy riff or drum and chug breakdown, adhering strictly to a too-safely written formula resulting in a narrowly conceived batch of hardcore tunes that, by the time “Glass House” rolled around, had me glancing at the clock and suffering from listeners fatigue. In addition, James’ very one-dimensional vocal attack made what should have been an easily digestible thirty-four-minute platter drag, feeling much longer. Don’t get me wrong, Brandon James is a good vocalist and the amount of chesty power he brings to his shouts works. Still, his lack of tonal variety—notwithstanding the few seconds in “World Breaker” where he manages to dip into a slightly lower register—grates after a while, especially when overpowering most of Cruel Bomb’s attempts at gang shouts, which could have served as a vocal counterpoint.I respect Cruel Bomb’s commitment to their aesthetic and craft, even down to the logo, which I dig. Yet despite my rather negative take, I don’t believe Cruel Bomb is a complete swing and miss. It’s clear these four, a quartet since 2023, have spent a lot of time touring and playing together, reflected in Cruel Bomb’s taut performances. With a more adventurous songwriting approach and some vocal contrast, Cruel Bomb has the talent to do more. Hardcore enthusiasts and Hatebreed fans should find things to like, and though I won’t return to Cruel Bomb after closing my laptop on this review, I’ll be watching for what comes next. Rating: 2.5/5.0 DR: 9 | Format Reviewed: 320kbps mp3 Label: Self-Released Websites: <a href="https://cruelbomb570.bandcamp.com/album/cruel-bomb" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/Cruelbomb/" rel="nofollow noopener" target="_blank">Facebook</a> |<a href="https://www.instagram.com/cruelbomb/?hl=en" rel="nofollow noopener" target="_blank"> Instagram</a> Releases Worldwide: August 15th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crossover-thrash/" target="_blank">#CrossoverThrash</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cruel-bomb/" target="_blank">#CruelBomb</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hardcore/" target="_blank">#Hardcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/hatebreed/" target="_blank">#Hatebreed</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/power-trip/" target="_blank">#PowerTrip</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slayer/" target="_blank">#Slayer</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/amg-goes-ranking-panopticon/" rel="nofollow noopener" target="_blank">AMG Goes Ranking – Panopticon</a>By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness on its head in an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists. The RankingsThus Spoke#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.<a href="https://www.angrymetalguy.com/amg-goes-ranking-panopticon/#fn-219067-1" rel="nofollow noopener" target="_blank">1</a> A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;<a href="https://www.angrymetalguy.com/amg-goes-ranking-panopticon/#fn-219067-2" rel="nofollow noopener" target="_blank">2</a> the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.#5. The Rime of Memory (2023) – Given the <a href="https://www.angrymetalguy.com/panopticon-the-rime-of-memory-review/#:~:text=November%2029th%2C%202023-,Thus%20Spoke,-So%20desperate%20to" rel="nofollow noopener" target="_blank">unadulterated praise</a> I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.<a href="https://www.angrymetalguy.com/amg-goes-ranking-panopticon/#fn-219067-3" rel="nofollow noopener" target="_blank">3</a>#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).<a href="https://www.angrymetalguy.com/amg-goes-ranking-panopticon/#fn-219067-4" rel="nofollow noopener" target="_blank">4</a> The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass. El CuervoConsigned to History#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.Assured Steps#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness. Faltering Genius#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.The Sweet Spot#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever. Mystikus HugebeardWhen discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon. AMG Official RankingPossible points: 30#10. On the Subject of Mortality (2010) -5 points#9. Panopticon (2008) – 8 points#8. Collapse (2009) -9 points#7. Social Disservices (2011) – 17 points#6. Roads to the North (2014) -18 points#5. The Rime of Memory (2023) -19 points#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points#3. …And Again into the Light (2020) – 21 points#2: Autumn Eternal (2015) – 22 points#1. Kentucky (2012) – 26 points The Angry Metal Discord Speaks (and for some reason we listen) #10. The Scars of Man on the Once Nameless Wilderness (2018)#9. Panopticon (2008)#8. Social Disservices (2011)#7. On the Subject of Mortality (2010)#6. Collapse (2009)#5.Roads to the North (2014)#4.The Rime of Memory (2023)#3. …And Again into the Light (2020)#2. Kentucky (2012)#1. Autumn Eternal (2015)  Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here: <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amg-goes-ranking/" target="_blank">#AMGGoesRanking</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amg-rankings/" target="_blank">#AMGRankings</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/folk/" target="_blank">#Folk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mare-cognitum/" target="_blank">#MareCognitum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/panopticon/" target="_blank">#Panopticon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/usbm/" target="_blank">#USBM</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/psycho-frame-salvation-laughs-in-the-face-of-a-grieving-mother-review/" rel="nofollow noopener" target="_blank">Psycho-Frame – Salvation Laughs in the Face of a Grieving Mother Review</a>By Dear HollowDeathcore doesn’t give a shit. There was a moment when bands like Lorna Shore and Slaughter to Prevail attempted to make deathcore more accessible to other metal fans, incorporating blackened/symphonic textures or nu-metal influences. However terrible, solid, milquetoast, or well-intentioned you found it, that’s not the spirit of deathcore. Psycho-Frame has steadily been building a fanbase around their particularly unhinged take on deathcore with the release of 2023 EPs Remote God Seeker and Automatic Death Protocol, and we’re finally faced with a full-length debut: Salvation Laughs in the Face of a Grieving Mother. But don’t expect heavyhandedness – expect just heavy. Dumb heavy. Basically, the music for the sellout. Get those fists swingin’, Hot Topic frequenters! We’re goin’ to the mall.Psycho-Frame embodies a trend in deathcore that is layered in nostalgia. Fearing that the style has lost its teeth, bands like the nation-spanning six-piece<a href="https://www.angrymetalguy.com/psycho-frame-salvation-laughs-in-the-face-of-a-grieving-mother-review/#fn-220413-1" rel="nofollow noopener" target="_blank">1</a> embrace the days of MySpace (think old-school Chelsea Grin or Bring Me the Horizon). It’s raw, groovy, and devastating, brandishing a brand wavering between thick-ass breakdowns settling on the ocean floor and lightning-fast blastbeats and unhinged technical thrills. Psycho-Frame otherwise benefits from a two-vocal attack, with Mike Sugars relying on a tough Frankie Palmeri bark attack while Jonathan Whittle offers fierce shrieks, horrific bellows, and the occasional pig squeal. It’s big, dumb fun that doesn’t overstay its welcome, embracing a savage edge contrary to contemporary acts off the same ilk: the rawness of Killing of a Sacred Deer or the melodic technicality of Thus Spoke Zarathustra. Psycho-Frame emerges as the elite, its loud and ouchy production amped to louder and ouchier, its vocal attack barbaric and ominous, and its songwriting whiplash-inducing. It’s everything you love – and loathe – about deathcore.There’s little nuance in Salvation Laughs – if it’s thoughtful songwriting and careful construction you’re after, Psycho-Frame ain’t it. It doesn’t have a lick of the tragedy its title implies because, remember, deathcore doesn’t give a shit. It recalls the chaos of This is Exile-era Whitechapel, The Cleansing-era Suicide Silence, or self-titled Chelsea Grin in its chunky viciousness and stonewalled rigidity. Neck-snapping tempo shifts are a norm, downtempo Black Tongue chugdowns assaulting your ears one second before ravaging them with ripping blastbeats and shredding riffs. Riffiness is a trait not often expounded upon by deathcore, but it appears often throughout Salvation Laughs, giving an unexpected head-bobbing groove and pinch harmonics (“Blueprints for Idol Genocide,” “Endless Agonal Devotion”), jaw-dropping fretboard wizardry that recalls Beneath the Massacre and pairs neatly with numbskull density (“Apocalypse Through Lysergic Possession”), while slam’s gurgling lurch a la Ingested adds nice sonic depravity (“Filleted and Fucked,” “Still Water Salvation”). Each member offers his best, the dual shrieks and roars commanding charisma, the guitars offering flaying technicality and caveman knuckle-dragging meatheadedness equally, bass holding up the sound amid the fray, and drums retain a sharp metallic ring that adds to the unhinged quality Psycho-Frame possesses.For the same reasons, some will love Psycho-Frame, others will understandably loathe it. In many ways, it feels like the insanity of mid-2000s deathcore distilled into a bullying thirty-eight minutes. It’s relentless, it’s over-the-top, and perfect to make frowny faces at while you windmill your way through the pit. That being said, some parts of the album are guiltier than others: when groove dominates, the result is an insane little number, but when that’s toned down to channel Suicide Silence, it sounds pitifully stale (“The Portal,” “BLACK_WAVE II”). Furthermore, there are short-lived spoken word samples scattered throughout the album, which provide more of a blush than the creepiness factor they are attempting to instill. But apart from the nitpicks, for nearly all the reasons mentioned in the paragraph above, Salvation Laughs in the Face of a Grieving Mother can be the thorn in a metalhead’s side – Psycho-Frame is truly an apt representative of deathcore.For better or worse, Psycho-Frame is deathcore, and it doesn’t pretend to be anything else. It’s big and dumb, overly loud and obnoxious, with enough groove, rawness, and wonky tricks to carry its dual vocal attack into something resembling enjoyment. It’s a low-ceiling, low-floor situation, because Salvation Laughs in the Face of a Grieving Mother can either bring some fun into your day or utterly ruin it. I had fun with Psycho-Frame because of its refreshing simplicity and relentless brutality – but it’s still a cautionary tale. Rating: 3.0/5.0 DR: N/A | Format Reviewed: Label: <a href="https://sharptonerecords.co/" rel="nofollow noopener" target="_blank">Sharptone Records</a> Websites: <a href="http://psychoframedc.bandcamp.com" rel="nofollow noopener" target="_blank">psychoframedc.bandcamp.com</a> | <a href="http://psychoframe.com" rel="nofollow noopener" target="_blank">psychoframe.com</a> | <a href="http://facebook.com/psychoframedeathcore" rel="nofollow noopener" target="_blank">facebook.com/psychoframedeathcore</a> Releases Worldwide: July 25th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/beneath-the-massacre/" target="_blank">#BeneathTheMassacre</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-tongue/" target="_blank">#BlackTongue</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/bring-me-the-horizon/" target="_blank">#BringMeTheHorizon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/chelsea-grin/" target="_blank">#ChelseaGrin</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ingested/" target="_blank">#Ingested</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul25/" target="_blank">#Jul25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/killing-of-a-sacred-deer/" target="_blank">#KillingOfASacredDeer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lorna-shore/" target="_blank">#LornaShore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/psycho-frame/" target="_blank">#PsychoFrame</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/salvation-laughs-in-the-face-of-a-grieving-mother/" target="_blank">#SalvationLaughsInTheFaceOfAGrievingMother</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sharptone-records/" target="_blank">#SharpToneRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slamming-deathcore/" target="_blank">#SlammingDeathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slaughter-to-prevail/" target="_blank">#SlaughterToPrevail</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/suicide-silence/" target="_blank">#SuicideSilence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thus-spoke-zarathustra/" target="_blank">#ThusSpokeZarathustra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/whitechapel/" target="_blank">#Whitechapel</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/cytolysis-surge-of-cruelty-review/" rel="nofollow noopener" target="_blank">Cytolysis – Surge of Cruelty Review</a>By OwlswaldEmbracing the brutal death metal staples of extreme violence, mutilation, and gore, Cytolysis is the solo project of drummer Darren Cesca (ex-Arsis, ex-Deeds of Flesh). Temporarily breaking from his duties in <a href="https://www.angrymetalguy.com/goratory-sour-grapes-review/" rel="nofollow noopener" target="_blank">Goratory</a> and <a href="https://www.angrymetalguy.com/eschaton-techtalitarian-review/" rel="nofollow noopener" target="_blank">Eschaton</a>, Cesca uses Cytolysis as an outlet to write, perform, and produce his own horror-filled material. His first offering, Portraits of Malevolence, tipped the scales firmly towards deathcore and was a competent yet unremarkable slab of sonic torture. After a five-year hiatus, Cesca emerges from the depths once more with Surge of Cruelty, hoping to follow Cytolysis’ run-of-the-mill debut with something far more malicious. But as it turns out, not much has changed.Cytolysis remains deathcore through and through. Driven by its strong rhythmic core, the name of the game on Surge of Cruelty is consistency and groove, with songwriting that largely relies on devastating Acacia Strain-esque breakdowns, mid-tempo plods, and half-time slams. Down-tuned guitars deliver a one-dimensional backdrop of bludgeoning power chords and devilish chugs, while Cesca’s blast beats, swift kick patterns, and tight grooves twist and turn with technical precision and a mechanical pulse. His Pyrexian vocals feature an abundance of unvaried pig squeals and guttural, vomit-flavored growls that often recede into the highly compressed mix. Guest vocals—like those from Brian Forgue (Syphilic) on “A Blood Soaked Offering,” or Mac Smith (Eschaton, Apogean) on “Devout Sacrifice”<a href="https://www.angrymetalguy.com/cytolysis-surge-of-cruelty-review/#fn-220306-1" rel="nofollow noopener" target="_blank">1</a>—offer a welcome contrast to Cesca’s conventional delivery, injecting much-needed dynamism through their soiled, vulgar-sounding roars. Still, even with its technically sound components, Cesca assembles Surge of Cruelty into a predictable and ultimately monotonous eleven tracks.Surge of Cruelty suffers from a structural monotony that makes its forty-four minutes feel sluggish and overlong. Cytolysis’ over-reliance on a limited playbook of chunky breakdowns and trudging grooves ultimately bleeds the album of its energy. Rather than building or evolving, the record’s flow feels like Cesca stitched similar-sounding tracks together. This predictability is immediately evident on opener “Your Slow Demise.” Embodying a run-of-the-mill brutality, the track builds on a foundation of lumbering mid-tempo chuggery and grinding slowdowns amidst Cesca’s squeals. Attempts at variation—like the choo-choo whistling guitar bends or the spells of dissonant guitars—lack supremacy and fall flat. Elsewhere, tracks like “Mark of the Demons,” “Surge of Cruelty,” and “Tribal Savagery” are packed with formulaic rhythms, low-end chugs, and tired-sounding riffs. Thankfully, the instrumental “Ritual Carnage” provides a moment of separation with its buzzing bass, pounding drums, and throat singing, but its effect is short-lived, as Cesca quickly pushes Surge of Cruelty right back into its old patterns. While the album’s shorter songs (“Innocence is Raped,” “A Blood Soaked Offering,” and “Consenting Brood”) fare better, too many tracks feel uninspired and aimless, lacking the quality material to justify their duration.Moments of technical flair provide Surge of Cruelty’s most engaging passages, as Cytolysis explores the boundaries of its deathcore mold. Cesca’s quick double bass bursts in “Mark of the Demons” or the accented ride pattern in the title track provide subtle dynamics and a brief sense of variation. “Devout Sacrifice” stands out as one of the album’s strongest tracks, thanks to its numerous twists and turns and its tight, punishing groove that holds my attention despite its whistling guitar bends. Other notable material includes the syncopated intro riff of “Innocence is Raped” and the refreshingly fast tempo and dark atmosphere of “Hung from the Rafters”—a welcome change of pace that unfortunately arrives far too late. Making matters worse, the album’s production—which is compressed to hell—magnifies Surge of Cruelty’s homogeneity, stripping the material of any life and hindering Cytolysis’ moments of creativity.My time with Surge of Cruelty began with hope but ended in disappointment. Cesca’s ability to single-handedly write, perform, and produce Cytolysis’ material is undoubtedly impressive, but Surge of Cruelty buckles under the weight of its own monotony and its sterile mix. While guest vocalists inject some much-needed dynamism and moments of technicality provide creative sparks, they are too infrequent to save an album that ultimately leaves little to hold onto after its best moments pass. Surge of Cruelty is a missed opportunity, but Cesca certainly has the talent to produce something far more compelling in the future. Rating: Disappointing DR: 4 | Format Reviewed: 320 kb/s mp3 Label: <a href="https://www.comatosemusic.com/" rel="nofollow noopener" target="_blank">Comatose Music</a> Websites: <a href="http://darrencesca.weebly.com" rel="nofollow noopener" target="_blank">darrencesca.weebly.com</a> | <a href="http://facebook.com/darren.cesca" rel="nofollow noopener" target="_blank">facebook.com/darren.cesca</a> Releases Worldwide: August 8th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/20/" target="_blank">#20</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/acacia-strain/" target="_blank">#AcaciaStrain</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apogean/" target="_blank">#Apogean</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arsis/" target="_blank">#Arsis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/comatose-music/" target="_blank">#ComatoseMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cytolysis/" target="_blank">#Cytolysis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathcore/" target="_blank">#Deathcore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deeds-of-flesh/" target="_blank">#DeedsOfFlesh</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/eschaton/" target="_blank">#Eschaton</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/goratory/" target="_blank">#Goratory</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/pyrexia/" target="_blank">#Pyrexia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/surge-of-cruelty/" target="_blank">#SurgeOfCruelty</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/syphilic/" target="_blank">#Syphilic</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/blackbraid-blackbraid-iii-review/" rel="nofollow noopener" target="_blank">Blackbraid – Blackbraid III Review</a>By Doom_et_AlIt takes a lot to quicken pulses at AMG Headquarters. Driven to exhaustion by merciless overlords, constant deadlines, and extended periods in the promo sump, the staff often look like—and have the pulse rate variability of—a hoard of unkempt zombies. But even we took notice when Blackbraid burst out of nowhere with some key singles from his first album, 2022’s Blackbraid I. Here was angry, melodic, accessible black metal, infused with Native American spirit and vigor, that did not rely on tired tropes or clichés. What could have been a gimmick instead lent the material majesty and an epic scope. When the debut materialized, it didn’t quite live up to those magic singles, but it had a unique identity, energy, and spirit that turned a lot of heads. Blackbraid II followed in 2023, demonstrating that founder Sgah’gahsowáh (Jon Krieger) was no one-trick pony. It was more consistent, more elaborate, and generally more interesting than its predecessor. Crucially, it expanded the band’s scope, focusing on a more epic, natural sound in place of Blackbraid I’s fury. It paid off. Blackbraid’s preternatural rise was cemented by appearances in the New York Times and cover articles in Decibel. Suddenly, this was a band even normies were taking notice of. With added hype comes added pressure. Can Blackbraid III possibly live up to the enormous expectations placed upon it?Let’s deal with the elephant in the room. Metal has always hated posers. And with Blackbraid’s prominence, accusations appeared that Sgah’gahsowáh may have been overstating his Native American roots. While he undoubtedly has Indigenous ties, those seem to be weaker than initially presented by the artist. Depending on your perspective, his adoption of a Mohawk name, without clear tribal or reservation affiliation, is either an act of reconnecting with his history or disrespectful appropriation; his embracing of his Native identity is a sincere way of reckoning with his culture, or cynical LARPing. This stuff may not matter to you at all, or it may matter deeply. But it’s worth being aware that Krieger/Sgah’gahsowáh’s relationship with his identity and his past is, like his native land, complex and messy. Which leads us to Blackbraid III. To my ears, this is Blackbraid’s finest album yet. Like a long ride through a majestic landscape with your best friend, Blackbraid III manages the incredibly difficult task of being both wildly epic and deeply intimate at the same time. It marries the disparate elements of its predecessors into a compelling whole. The basic building blocks are still there: scorching black metal mingled with gentler interludes highlighting nature or Indigenous instruments. But Blackbraid III is no noodly atmoblack with more fuzz than riffs; this thing absolutely rips with memorable earworms. From the opening ferocity of “Wardrums at Dawn on the Day of My Death,” there is a relentless energy and verve to the music, which is indelibly infused with its creator’s vision, without resorting to cringy gimmickry. Other tracks, like “The Dying Death of a Sacred Stag,” are far more intimate, with moments of real emotion and vulnerability folded into the blast beats and rasping yelps. The strong songwriting is evident throughout the album, but “Tears of the Dawn” and “And He Became the Burning Stars” are Blackbraid III’s core and the jewels in its crown. They are epic and melodic in a way that brings to mind the best of Moonsorrow or Agalloch.Complaints are few, but Blackbraid III’s interludes err on the longer side, which will irritate some. I found them a welcome break from the intensity of the heavier stuff, but there’s no question that they are not as interesting as the main tracks. By my 10th listen, however, I found myself occasionally skipping through them. I also found the sludgy, dense “God of Black Blood” to be weaker, both musically and tonally, than the epic songs that surround it. Finally, the album really should have ended with the giant, majestic, “And He Became the Burning Stars.” The closer, “Fleshbound,” feels tacked on and closes things on a slightly anticlimactic note.Nevertheless, Blackbraid III makes it three in a row for Sgah’gahsowáh. It is, frankly, everything a fan of either the band or this style of music could possibly want. Like the land that inspires it, it is infused with violence and beauty and complexity. But it’s the ability to combine these disparate concepts with epic scope and intense vulnerability that sets it apart. Blackbraid continues to grow as an artist, and his albums reflect this growth. If you’re able to look past the controversy of his identity, you’ll see that one of metal’s shining stars has, miraculously, again delivered one of the year’s best. Rating: 4.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: Independent Release Websites: <a href="http://blackbraid.bandcamp.com/" rel="nofollow noopener" target="_blank">blackbraid.bandcamp.com</a> | <a href="http://blackbraid.us" rel="nofollow noopener" target="_blank">blackbraid.us</a> Releases Worldwide: August 8th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/40/" target="_blank">#40</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/agalloch/" target="_blank">#Agalloch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackbraid/" target="_blank">#Blackbraid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/independent-release/" target="_blank">#IndependentRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/moonsorrow/" target="_blank">#Moonsorrow</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/theurgion-all-under-heaven-review/" rel="nofollow noopener" target="_blank">Theurgion – All Under Heaven Review</a>By Steel DruhmI’ll give it to the folks at Profound Lore’s PR department. As I processed the All Under Heaven debut by unheralded doom-death act Theurgion and prepared to hurl it into the reeking promo sump, I felt the irresistible urge to take it for myself due to this subtle teaser tidbit: “comprised of seven sculptured sonic monuments that hail those that came before Solitude Aeturnus, OLD Katatonia, OLD Anathema/Paradise Lost, first October Tide LP….” Those are mighty big FFO nods, and I fell victim to the hype like a lowly n00b, tucking the promo in my ape pouch and skulking into the sultry night. The PR spinners didn’t lie either. What Theurgion do is totally what I want doom-death to be. I initially feared a frightful blow to the Score Safety Counter might be as inevitable as a hangover after 5 glasses of Doc Grier‘s cactus pruno punch. The atmosphere is rife with weepy melancholy. The heavy doom riffs are there and effectively crushing. What could go wrong with so much rightness happening? Did I find the next Fvneral Fvkk?Though I’m not much for instrumental openers, I can’t knock “Mourning Tide” at all. It’s a tremendously moody, engaging table-setter promising an album’s worth of despondent despair, and it’s well executed from soup to sadboi nuts. When the first proper track, the 10-plus minute “Lavender & Silver,” kicked into existence with mournful chanting, weepy trilling, crunching doom riffs, and booming death vocals, Steel was in his happy place. As the pained and plaintive clean vocals arrived, they seemed solid and appropriate; a forlorn mid-range croon with muscle behind it, sort of halfway between Danzig and The Cult’s Ian Astbury. Things kept building upward toward greatness, with me held in thrall. For the first 7 minutes, all was right in the world, but as things started to wind to a conclusion, the clean vocals of vocalist/drummer L.C. started to go off the rails as he reached for ever higher registers with his macho man bellowing. He starts to sound like an old, tired Danzig, and increasingly struggles to stay in tune. It ultimately doesn’t ruin what is a very effective doom-death epic, but the chinks in the armor become very visible by the end. These vocal issues resurface immediately in follow-up “Thrice-Named” as L.C. tries to sound anguished and tormented. As the album develops, those shout/sing/bellows become more problematic. Eventually, you feel relief when he lapses into death roars. This is a real shame, too, as the song has a lot going for it. It reminds me of the early days of Deathwhite, and I love the Goth-infused atmosphere Theurgion craft here.There are many high-quality moments to be found on All Under Heaven, and the band can certainly write compelling doom-death epics that grab the listener by the ghost nuts and squeeze. But the vocals become a kind of wrecking ball blasting through the carefully curated moods to bring disorder and irritation to the listener. On “The Storm,” L.C. tempers his delivery enough to beguile and enchant on a track filled with vibrant guitar work and a strong Enshine-meets-Primordial vibe. It’s a beautifully glum and downcast little number, and it works because the vocals largely compliment the music instead of sucker punching it with a sack full of antique doorknobs. Unfortunately, on the 12-minute title track, L.C. overdoes his shout-singing to the point where you’d gladly fork over funds to send him to Count Orlok’s quiet time retreat deep in the Carpathian Mountains. One could also quibble about the 3 instrumental interludes, including the intro and outro. They aren’t bad, but aside from the opener, they feel unnecessary.The real shame of it all is that L.C. is actually a capable vocalist. His death roars are fully on point, and he can manage effective cleans when he stays in a middle range and refrains from forcing his upper range to the point where control flies out the window. He’s a case study on less is MOAR, and proves that MOAR can be way too much. Guitarists A.P. and R.F. do a rock-solid job across the album, creating richly melancholic soundscapes without forgetting to use the doom riff cudgel to keep the listener honest. There are nods to all the bands name-dropped in the PR material, especially Paradise Lost and Katatonia, and they know how to deliver grimly beautiful doom-death. If we are going solely on instrumentation, this thing is close to a 4.0. With vocals added, things get slicey dicey and make scoring Under All Heaven a real trial by fire.There’s a lot to love on Theurgion’s debut opus. The atmosphere is dark and mournful, and the guitar work is inspired. Hell, even the vocals deliver the doomy goods about half the time. I struggled a lot with how to rate this thing, but ultimately, your enjoyment will come down to how well you vibe with L.C.’s “unique” style. For me, his “elderly Danzig on the toilet” style killed too many otherwise glorious moments. Mileage may vary, and I sincerely hope it does, because Theurgion have the potential to become something great. Rating: 2.5/5.0 DR: 10 | Format Reviewed: 320 kbps mp3 Label: <a href="https://profoundlorerecords.com/" rel="nofollow noopener" target="_blank">Profound Lore</a> Websites: Too mysterious for the webz? Releases Worldwide: August 8th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/all-under-heaven/" target="_blank">#AllUnderHeaven</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aug25/" target="_blank">#Aug25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/deathwhite/" target="_blank">#Deathwhite</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/katatonia/" target="_blank">#Katatonia</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/paradise-lost/" target="_blank">#ParadiseLost</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/profound-lore-records/" target="_blank">#ProfoundLoreRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/theurgion/" target="_blank">#Theurgion</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-may-2025s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: May 2025’s Angry Misses</a>By Kenstrosity Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy! Kenstrosity’s Meanest Meanies<a href="http://deathwhoreband.com/" rel="nofollow noopener" target="_blank">Death Whore</a> // Blood Washes Everything Away [May 16th, 2025 – Self-Release]Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.<a href="https://www.facebook.com/ExecutionistMetal/" rel="nofollow noopener" target="_blank">Executionist</a> // Sacrament of the Sick [May 16th, 2025 – Self-Release]West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on <a href="https://www.angrymetalguy.com/kreator-hate-uber-alles-review/" rel="nofollow noopener" target="_blank">Kreator</a> WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost <a href="https://www.angrymetalguy.com/at-the-gates-the-nightmare-of-being-review/" rel="nofollow noopener" target="_blank">At the Gates</a>-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits. Thus Spoke’s Shiny Scraps<a href="https://www.facebook.com/blackghostbath/?locale=en_GB" rel="nofollow noopener" target="_blank">Ghost Bath</a> // <a href="https://ghostbath.bandcamp.com/album/rose-thorn-necklace" rel="nofollow noopener" target="_blank">Rose Thorn Necklace</a> [May 9th, 2025 – <a href="https://www.nuclearblast.com/" rel="nofollow noopener" target="_blank">Nuclear Blast</a>]DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-may-2025s-angry-misses/#fn-219282-1" rel="nofollow noopener" target="_blank">1</a> it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody<a href="https://www.angrymetalguy.com/stuck-in-the-filter-may-2025s-angry-misses/#fn-219282-2" rel="nofollow noopener" target="_blank">2</a> both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling <a href="https://www.angrymetalguy.com/harakiri-for-the-sky-scorched-earth-review/" rel="nofollow noopener" target="_blank">Harakiri for the Sky</a>. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted. ClarkKent’s Bestial Beats<a href="https://animalizeband.bandcamp.com/album/verminateur" rel="nofollow noopener" target="_blank">Animalize</a> // Verminateur [May 23, 2025 – Dying Victims Productions]While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from <a href="https://www.angrymetalguy.com/accept-humanoid-review/" rel="nofollow noopener" target="_blank">Accept</a> to <a href="https://www.angrymetalguy.com/yer-metal-olde-def-leppard-hysteria/" rel="nofollow noopener" target="_blank">Def Leppard</a>, while the lightning-fast “Verminateur” sounds like a blast from <a href="https://www.angrymetalguy.com/judas-priest-invincible-shield-review/" rel="nofollow noopener" target="_blank">Judas Priest</a>’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns. Owlswald’s Feathered Echoes <a href="https://pandemia-deathmetal.cz/" rel="nofollow noopener" target="_blank">Pandemia</a> // Darkened Devotion [May 16th, 2025 – Hammerheart Records]After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like <a href="https://www.angrymetalguy.com/vader-solitude-in-madness-review/" rel="nofollow noopener" target="_blank">Vader</a> and <a href="https://www.angrymetalguy.com/immolation-acts-of-god-review/" rel="nofollow noopener" target="_blank">Immolation</a>, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (<a href="https://www.angrymetalguy.com/cutterred-flesh-love-at-first-bite-review/" rel="nofollow noopener" target="_blank">Cutterred Flesh</a>) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness. Killjoy’s Dreamy Delights<a href="https://www.facebook.com/asthenie.band/" rel="nofollow noopener" target="_blank">Asthénie</a> // Iridescence [May 5th, 2025 – Self-Release]Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the <a href="https://www.angrymetalguy.com/am-i-in-trouble-spectrum-review/" rel="nofollow noopener" target="_blank">first instance this year</a> of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.<a href="https://www.facebook.com/AuclairdeluneBand/" rel="nofollow noopener" target="_blank">Au Clair de Lune</a> // In the Wake of Dusk [May 16th, 2025 – Self-Release]Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm. Dolphin Whisperer’s Dusky Deposition<a href="https://www.facebook.com/slumberingsun" rel="nofollow noopener" target="_blank">Slumbering Sun</a> // <a href="https://slumberingsun.bandcamp.com/album/starmony" rel="nofollow noopener" target="_blank">Starmony</a> [May 9th, 2025 – Self Release]Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-slumbering-sun-the-ever-living-fire/" rel="nofollow noopener" target="_blank">The Ever-Living Fire</a> back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early <a href="https://www.angrymetalguy.com/pallbearer-mind-burns-alive-review/" rel="nofollow noopener" target="_blank">Pallbearer</a> struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger. Tyme’s Tragic Tones<a href="https://www.facebook.com/enterrevivantblackmetal/about/?_rdr" rel="nofollow noopener" target="_blank">Enterré Vivant</a> // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s<a href="https://www.angrymetalguy.com/stuck-in-the-filter-may-2025s-angry-misses/#fn-219282-3" rel="nofollow noopener" target="_blank">3</a> third album, Akuzaï, blew me away. My DSBM bar was set long ago by <a href="https://www.angrymetalguy.com/shining-shining-review/" rel="nofollow noopener" target="_blank">Shining</a>‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,<a href="https://www.angrymetalguy.com/stuck-in-the-filter-may-2025s-angry-misses/#fn-219282-4" rel="nofollow noopener" target="_blank">4</a> to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and <a href="https://www.angrymetalguy.com/retro-spective-review-emperor-nightside-eclipse/" rel="nofollow noopener" target="_blank">Emperor</a> (“Sesshô,” “Shin’i”) with <a href="https://www.angrymetalguy.com/moonsorrow-jumalten-aika-review/" rel="nofollow noopener" target="_blank">Moonsorrow</a>-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/accept/" target="_blank">#Accept</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alcest/" target="_blank">#Alcest</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/animalize/" target="_blank">#Animalize</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/asthenie/" target="_blank">#Asthénie</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/at-the-gates/" target="_blank">#AtTheGates</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/au-claire-de-lune/" target="_blank">#AuClaireDeLune</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/autumn-nostalgie/" target="_blank">#AutumnNostalgie</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blackgaze/" target="_blank">#Blackgaze</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blood-washes-everything-away/" target="_blank">#BloodWashesEverythingAway</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/crust/" target="_blank">#Crust</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cutterred-flesh/" target="_blank">#CutterredFlesh</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/czech-metal/" target="_blank">#CzechMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/darkened-devotion/" target="_blank">#DarkenedDevotion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-whore/" target="_blank">#DeathWhore</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/def-leppard/" target="_blank">#DefLeppard</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/doom-metal/" target="_blank">#DoomMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dsbm/" target="_blank">#DSBM</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dying-victims-productions/" target="_blank">#DyingVictimsProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/emperor/" target="_blank">#Emperor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/enterre-vivant/" target="_blank">#EnterréVivant</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/executionist/" target="_blank">#Executionist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/falyriae/" 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href="https://www.angrymetalguy.com/tag/immolation/" target="_blank">#Immolation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/in-the-wake-of-dusk/" target="_blank">#InTheWakeOfDusk</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/iridescence/" target="_blank">#Iridescence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/italian-metal/" target="_blank">#ItalianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/judas-priest/" target="_blank">#JudasPriest</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kreator/" target="_blank">#Kreator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/may25/" target="_blank">#May25</a> <a rel="nofollow noopener" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/kill-everything-headless-cum-dumpster-review/" rel="nofollow noopener" target="_blank">Kill Everything – Headless Cum Dumpster Review</a>By SaundersIn terms of subtlety and nuance, brutal death represents an oil vs water scenario. Illustrating the point, Texan purveyors of repugnant, stupidly heavy slam-infected brutal death, Kill Everything, return with the charmingly titled Headless Cum Dumpster, the long-gestating follow-up to their well-received 2018 debut, Scorched Earth. Time passed has brought in changes to the band’s line-up since their thumping debut, with ex-Devourment gurgler Mike Majewski leaving the fold, bassist Mike Leach joining, and former bassist Brett Wilson switching to second guitar, teaming up with another ex-Devourment member in guitarist Brian Wynn. Scorched Earth offered solidly satisfying slams and cement-smashing riffs, featuring a clean, heavy production job and suitably gut-wrenching vocal eruptions to chunky effect. The time away has found the band devolving into a darker, danker, uglier beast, while retaining the overwhelmingly punishing aural onslaught and face-smashing slams they detonated with such impact on their debut. Seven years is an eternity in the underground realms of brutal death. Can the rejinked Kill Everything cash in on their promise on the second go around?Kill Everything favor brevity, probably to the album’s benefit, lock, loading and firing off a whirlwind eight song beatdown, clocking-in a brisk twenty-six minutes plus change. As indicated earlier, Headless Cum Dumpster strips away the more polished sonic elements from the debut, smearing layers of grime and a rancid mass of unidentified bodily fluids across the album’s dense, gritty construction. The resulting change in production tact creates an endearingly rugged, unvarnished edge to an already feral bout of guttural extremities. “Fermented Drippings” lays out the album’s formula in unsubtly head-caving terms, riding shotgun with rugged mid-paced batterings, chunky grooves, and forceful vocal emissions. The song makes an impactful explosion to begin the album; however, it lacks a genuine hook or lasting impression, a recurring theme across the album. While never sluggish, Kill Everything prefer to operate in murky, mid-paced terrain, aside from more chaotic, speedier numbers or urgent rhythmic shift (“Maggot Frenzy,” “Infatuated with Homicide”). Although there are standout moments, riffs, and the obnoxiously addictive power of the almighty slam at play, Headless Cum Dumpster tends to blur by in all its unsophisticated, bone-headed glory. The ingredients and performances nail the aesthetics and key points to please brutal death and slam aficionados, complete with incomprehensibly heaving, guttural vox, and classic snare tone. And when this shit is on, there is fun to be had. For instance, “Headless Cum Dumpster” mashes busy drumming and chaotic riffage with satisfyingly explosive slams, while “No Lives Matter” rumbles drunkenly along like a deranged bog monster, off-kilter rhythms and sewer-dwelling grooves erupting in a headbangable frenzy.In the moment, Headless Cum Dumpster provides momentary enjoyment, courtesy of the band’s tight performances, emphasis on swaggering, meaty grooves, repugnant slams, and chaotically brutal attack. Several songs create a decent impact, yet despite the album’s efficiency and Kill Everything’s dedication to their craft, the writing fails to consistently rise to the occasion. The loss of Majewski is significant. Vocals in brutal death can often function as a secondary rhythmic instrument, playing second fiddle to the instrumental base. They are not often the standout feature, nor should they negatively diminish or overwhelm the dense assault. Johnny Abila’s (Mortifying Deformity, Rotting Plague) uber-deep, guttural burps lend the album a brutal punch; however, the monotonously one-dimensional performance becomes an unwelcome distraction, lacking the character and variety of his predecessor. Coupled with songwriting that is missing the immediacy, dynamics, and infectiousness of the debut, Headless Cum Dumpster falls short as a long-awaited follow-up.Overall, Headless Cum Dumpster ticks the boxes for a rollicking good time for avid listeners of underground brutal death, with a particularly slammy profile. However, the album’s bruising underground charms, unrelenting attack, and gut-busting slams cannot substantially paper over the songwriting deficiencies, shortage of genuinely engaging moments, and subpar vocals, diminishing an otherwise solid slab of nasty underground brutality. Rating: 2.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.comatosemusic.com/" rel="nofollow noopener" target="_blank">Comatose Music</a> Websites: <a href="https://comatosemusic.bandcamp.com/album/headless-cum-dumpster" rel="nofollow noopener" target="_blank">Bandcamp</a> | <a href="https://www.facebook.com/people/Kill-Everything-Tx/61567636885889/#" rel="nofollow noopener" target="_blank">Facebook</a> Releases Worldwide: July 25th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/brutal-death/" target="_blank">#BrutalDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/comatose-music/" target="_blank">#ComatoseMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devourment/" target="_blank">#Devourment</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/headless-cum-dumpster/" target="_blank">#HeadlessCumDumpster</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/kill-everything/" target="_blank">#KillEverything</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mortifying-deformity/" target="_blank">#MortifyingDeformity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rotting-plague/" target="_blank">#RottingPlague</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slam/" target="_blank">#Slam</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/grayceon-then-the-darkness-review/" rel="nofollow noopener" target="_blank">Grayceon – Then the Darkness Review</a>By Dolphin WhispererNovelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.<a href="https://www.angrymetalguy.com/grayceon-then-the-darkness-review/#fn-219534-1" rel="nofollow noopener" target="_blank">1</a> Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,<a href="https://www.angrymetalguy.com/grayceon-then-the-darkness-review/#fn-219534-2" rel="nofollow noopener" target="_blank">2</a> Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile. Rating: 3.5/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: <a href="https://translationloss.com/" rel="nofollow noopener" target="_blank">Translation Loss Records</a> | <a href="https://translationlossrecords.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a> Websites: <a href="http://grayceon.bandcamp.com/music" rel="nofollow noopener" target="_blank">grayceon.bandcamp.com</a> | <a href="https://www.facebook.com/grayceon" rel="nofollow noopener" target="_blank">facebook.com/grayceon</a> Releases Worldwide: July 25th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/giant-squid/" target="_blank">#GiantSquid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/grayceon/" target="_blank">#Grayceon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul25/" target="_blank">#Jul25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ludicra/" target="_blank">#Ludicra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sabbath-assembly/" target="_blank">#SabbathAssembly</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/then-the-darkness/" target="_blank">#ThenTheDarkness</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/translation-loss-records/" target="_blank">#TranslationLossRecords</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/atomic-witch-death-etiquette-review/" rel="nofollow noopener" target="_blank">Atomic Witch – Death Etiquette Review</a>By TymeCleveland, Ohio’s death thrash quintet, Atomic Witch, began as Bulk & Skull in 2012—a nod to the comic relief duo from Mighty Morphin Power Rangers—before changing their moniker in 2016. After releasing a few singles and EPs, Atomic Witch partnered with Redefining Darkness Records and producer Dan “The Man” Swanö for their debut album, Crypt of Sleepless Malice, in 2022, which created a splash in the death thrash pool with its visceral riffs, horror-themed lyrics, and completely unhinged vocals. Three years of lessons learned later, Atomic Witch and new producer Noah Buchanan (Nunslaughter, Solipsist) at Cleveland’s Mercinary Studios have reopened the crypt to unleash sophomore effort, Death Etiquette, upon the phantasmic masses. Do these Midwest marauders have what it takes to infect a crowded scene even further, or should we stake this vampire’s heart now and slam the coffin door shut?As Death Etiquette comes not only crashing through but completely mangling the gate, it’s clear Atomic Witch hasn’t tweaked their formula. In just over two minutes, album opener “Morgue Rat” packs everything Atomic Witch does well into one brief, bristling bruiser. Frenetically furious riffing melded with drummer Nick Amato’s (Axioma) rolls and fills hit you right between the beady eyes before the track settles into a nice, mid-paced chug-a-lug. Like Stallone turning his trucker hat around in Over the Top, when singer Nick Martinis pulls his neon green ski mask down over his face, shit’s about to get real, and when he delivers the very cheeky Drowning Pool-ish line “Let the bodies hit the morgue,” it’s also clear Atomic Witch don’t take themselves too seriously. New bassist David McJunkins’ low-end rumblings, in conjunction with Amato’s battery, keep the frantic riffs and twisted solos of Jesse Shattuck and Jonah Meister in check. Death Etiquette delivers short and sweet thrash first and foremost, falling somewhere amidst the sonic Bermuda triangle of Slayer, Forbidden, and Xoth. At the same time, there are sprinkles of Sentient Horror-like death (“Of Flesh and Chrome”) and a little bit of black metallicism (“Dream Rot”) boiling in Atomic Witch’s cauldron. Performances reign supreme here, and it’s the vocal pyrotechnics that take center stage.Eschewing the punkier, more straightforward approach of fellow Midwest acts like Midnight and Wraith, Atomic Witch differentiate through the crazed vocal tandem of Martinis and Shattuck. Betwixt the two, Martinis carries the bulk of the responsibility, and his snarly screams—reminiscent of Havok’s David Sanchez—bring some extra lethality to the material and highlight the catchy choruses (“Morgue Rat,” “Worms and Dirt”). While the completely bonkers, high-pitched, full-throated power falsettos—landing within Rob Halford, King Diamond, and Mark Osegueda territory—and deep, guttural growls of Shattuck serve as an insane accompaniment to Martinis’ raspy delivery (“Death Edging (Come to the Light)”). Both coalesce perfectly on my favorite track, and album closer “Vicious Mistress,” a Venom song title if ever there was one. Carrying over from the debut’s “Love Curse,” the track features a swaggering groove composed of bendy chords and flirty riffs, the high-low vocal trade-offs accentuating the hectic solos and furious instrumentals with a romping effect.Death Etiquette benefits from Noah Buchanan’s rawer production. As masterful as Swanö is, I found the mix on Crypt of Sleepless Malice too mutedly polished. And while Atomic Witch may have sacrificed some DR in the process, the slightly louder mix works for me with this material. A testament to cohesiveness, the songwriting on Death Etiquette is tighter and more focused too, as Shattuck and Meister continue to refine their ability to craft engaging music. And while even the shorter tracks feel fully resolved, despite their brevity, the twenty-seven-minute runtime did leave me wanting a little more meat on my plate.Atomic Witch continue to make a name for themselves in the death thrash space, and Death Etiquette is another solid step forward. And while they’re not doing anything too groundbreaking or boundary-pushing, these two first noteworthy releases indicate a band embarking on a decently consistent career. I suppose only time will tell. Atomic Witch seems like a fun band, and I found Death Etiquette a fun listen. I’d certainly opt to catch them, and their ski-masked frontman, live should they make a stop anywhere near my stomping grounds. I’ll be spinning Death Etiquette more as this humid summer trudges on and will be keeping my eyes peeled for what Atomic Witch does next. Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320kbps mp3 Label: <a href="https://www.redefiningdarkness.com/" rel="nofollow noopener" target="_blank">Redefining Darkness Records</a> Websites: <a href="https://atomicwitch.bandcamp.com/album/death-etiquette" rel="nofollow noopener" target="_blank">Bandcamp</a> |<a href="https://www.facebook.com/ATOMICWITCH/" rel="nofollow noopener" target="_blank"> Facebook</a> Releases Worldwide: July 25th, 2025<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atomic-witch/" target="_blank">#AtomicWitch</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-etiquette/" target="_blank">#DeathEtiquette</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/forbidden/" target="_blank">#Forbidden</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/jul25/" target="_blank">#Jul25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/midnight/" target="_blank">#Midnight</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/redefining-darkness-records/" target="_blank">#RedefiningDarknessRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/sentient-horror/" target="_blank">#SentientHorror</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slayer/" target="_blank">#Slayer</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/thrash-metal/" target="_blank">#ThrashMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wraith/" target="_blank">#Wraith</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/xoth/" target="_blank">#Xoth</a>

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