I’m going to come out and say it. Arch Enemy has done untold damage to female-fronted metal bands. While their influence is undeniable, every iteration of the band has featured monotone vocals, cringe-inducing lyrics, and leather-clad frontwomen. As a woman, I have no issue with these things in a vacuum, but in the larger music sphere, they created simultaneously high and absurdly low standards. Requiring frontwomen to be stereotypically hot, thin, and sport bright hair, while also plummeting standards on the musical side with their milquetoast melodeath slop. This is an ill omen for North Carolina’s Blackwater Drowning, seemingly following in Arch Enemy’s footsteps on a surface level, but do they make the same mistakes from a musical perspective, or are they influenced only in aesthetics?

The post Blackwater Drowning – Obscure Sorrows Review appeared first on Angry Metal Guy.

Glasgow Grin channels a red-hot, violent anger through a mix of groove metal, hardcore, metalcore, and nu-metal. This anger emanates from Karzis’s loud, punky vocal style. He shouts all sorts of angry, violent proclamations, letting us know he’s “ready for war / It’s time to fight” on opener “Glasgow Grin.” On “No Gods, No Chains,” he sounds like an angry version of the Beastie Boys when he shouts, “every breath I take, it just fuels my / Rage.” There’s a sort of macho nihilism in the lyrics as Karzis portrays a world requiring violence, or the threat of it, in order to survive. This comes off in the straight-for-the-throat instrumentation as well, with mid-paced blast beats pounding mercilessly and guitars buzzing angrily. Full House Brew Crew unsuccessfully emulate the swagger of Pantera with lines like “Welcome to the other side / You fucking bitch” used as a mic drop (“The Other Side”). The anger often serves less as a cathartic outlet than an expression of meanness.

Full House Brew Crew struggle to write any hooks to help the music stand out. Right off the bat, “Glasgow Grin” sounds like little more than a mood piece lacking melody and structure. Not only that, but many of the songs are surprisingly low energy for material that’s so irate. Glasgow Grin also provides a mixed bag in the chorus department. Some songs sound so uniform that the chorus goes by without notice (“The Tear”), or they have a clear chorus that’s just not very good (“The Other Side”). “No Gods, No Chains” has some success with its memorable, chant-y chorus, and there are moments where Full House Brew Crew shows flashes of hooks, such as the guitar lead on “No Gods, No Chains” and some djenty riffs that channel After the Burial and Born of Osiris (“The Tear,” “Distant Star”). Unfortunately, these moments are few and often fail to land.

The second half of Glasgow Grin starts off as though it’s going to redeem the record’s rather bland first half. Two tunes, “Rain” and “Distant Star,” make use of cleans for some pretty catchy choruses that break up the monotonous rage. Full House Brew Crew is also more experimental on these tracks, going into some progressive spells with a warbly, dreamy solo on “Rain” and an arpeggiated bridge on “Distant Star” that reveal some depth to their songwriting. “From the Gutter” probably best demonstrates where the band could succeed with its more aggressive songwriting. It has a lively, energetic feel missing on much of the album, but unfortunately, it fails to stick the landing when the final minute devolves into random, Gojira-style harmonics. From there, Glasgow Grin struggles to find its footing again. “Crawling” plays a grating guitar tone for almost its entirety, and “Reign of Terror” has a weird breakdown in its final moments that concludes the record on a deflatingly flat note.

Rather than a grin, this risks painting a permanent Glasgow Scowl on your face. Fortunately, Full House Brew Crew cuts enough fat that the album’s over in a brief 34 minutes. There are certainly glimpses here and there of where they could take their groove metal in a more successful direction. However, the pure rage channeled through piss-poor production values often feels like an angry version of Steve Carell mindlessly yelling, “I love lamp.” Maybe there’s some catharsis, but mostly it’s just a headache.

Rating: 1.5/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Roar! Rock of Angels Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: February 6th, 2026

The post Full House Brew Crew – Glasgow Grin Review appeared first on Angry Metal Guy.

Endless Ark is brimming with ideas and ludicrous talent, but Petrified Giant’s artistry lies in always keeping the songs first. McElfatrick’s rhythmic riffing is chock-full of embellishments and gnarled turns while Rath’s leads and solos twist in wonky yet melodic manners reminiscent of Xoth,² but never to gratuitous excess. Though Petrified Giant reveals a progressive, symphonic flair on longer tracks like “Dollmaker” and the title track (the chorus of which sounds straight out of the Seven Spires playbook), Endless Ark is a mean, focused attack on thrash bruisers like “The Blacksmith” and “Death and Taxes.” This expansive yet fatless songwriting carries over into whatever creative direction Petrified Giant takes, whether it be the jaunty power metal leanings of “Flesh Born of Flesh,” the electronic forays of “Traitorous,” the gothic atmospheres of “Dollmaker,” or the prog-power balladry of “Martian Winds” and “Mama.” Even at its heaviest (“Death and Taxes”), Endless Ark overflows with variety and hooks, whic,h when coupled with the aforementioned tight, expressive compositions, make for a most memorable listening experience.

But if Petrified Giant was intended as a vanity project for McElfatrick and Rath, then they royally screwed up by bringing on vocalist Mardy Leith (Dragoncorpse), because he just about steals the show. Across Endless Ark, Leith puts on a clinic for diverse, theatrical, and technically proficient vocals, meeting the needs of whatever wild turn Petrified Giant takes and upping the ante. He reminds me of Protest the Hero’s Rody Walker in this way. Whether belting out impassioned cleans on “Martian Winds,” switching between singing and screaming at will on “Flesh Born of Flesh,” owning both brutal death vox and 80s-coded air raid wails on “The Blacksmith,” or going full-on manic on “Godless Sky,” Leith holds it down resplendently. Leith’s contribution to Endless Ark’s personality cannot be understated, as his evocative performances bring to life both Petrified Giant’s fun, campy horror songs like “Flesh Born of Flesh” and “Dollmaker” and their furious, real-world ragers like “Death and Taxes” and “Traitorous.” Endless Ark would’ve been a very good and enjoyable record without Leith; with him, Petrified Giant are an unmitigated blast.

One of my biggest fears during my N00b period this year was that I wouldn’t be able to cover Endless Ark by the time TYMHM season rolled around. Petrified Giant came out swinging, putting out one of the year’s greatest debut records. It’s not perfect—the programmed drumming definitely sounds programmed and the title track isn’t quite as tight as everything else—but the shortcomings of Endless Ark pale before its sheer exuberance and sense of adventure. When other ‘Tubers put out mere content to forward their individual careers or stroke their egos, Petrified Giant gives us an album. Get on the Ark, friends.

Tracks to Check Out: “The Blacksmith,” “Dollmaker,” “Death and Taxes” and “Traitorous.”

The post Petrified Giant – Endless Ark [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

They say it’s going to be a harsh winter this year. They always say that, and it’s almost never true, at least not from where I’ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!

Kenstrosity’s Riffy Representation

Xaoc // Repulsive Summoning [October 31, 2025 – Edgewood Arsenal Records]

Xaoc’s history is one of the more confusing I’ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band’s labeled as Split Up already on Metallum? I don’t understand what’s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory and Dormant Ordeal, this Virginian outfit know how to throw down. Highlights like “Ave Solva Coagula,” “Antima Samskara,” “The Great Perfected Ones,” and the entire “Degenerate Era” three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It’s a simple record, built to beat me down and leave me broken and bloodied, but it’s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don’t sleep on Xaoc!

Andy-War-Hall’s Succulent Surplus

Canvas of Silence // As the World Tree Fell [October 31st, 2025 – Rockshots Records]

Finnish symphonic metallers Canvas of Silence describe themselves as “prog-influenced chorus metal,” and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like “The Great Unknown” and “Wayfarer” amidst a sharp Gothenburg riff attack in “Watching the World Tree Fall” and “Drown.” Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracyesque prog-power (“One With the Wind,” “Humanimal”) and Madder Mortem-like gothic twists (“Drown,” “Anthem for Ashes”), all reined in by the commanding vocal presence of singer Loimu Satakieli.¹ Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a smörgåsbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of “Humanimal” and the folky power metal jaunt of “One With the Wind.” Even on lyrically dark/mournful passages like “Wayfarer” and “Garden of the Fallen,” Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell’s production can be sterile and overly loud² I am nothing but excited to see what these Finns can cook up next.

Spicie Forrest’s Punky Proferrings

Violent Testimony // Aggravate [October 17th, 2025 – Horror Pain Gore Death Productions]

Do you wish there was more grind in your life? Well, Cheyenne, Wyoming’s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death with the lead foot ethos of early Pig Destroyer and Cattle Decapitation, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of “God Complex Massacre” to the final detonations of “Hit N’ Run,” Violent Testimony shows absolutely no restraint. D.N.’s Gatling drums mow down everything in their path while T.W.’s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.’s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (“Rider in the Night,” “Psychotic Episode”). Caustic growls and vitriolic screams tear from T.W.’s throat at mach fuck (“Flashbang Celebration,” “Obligatory Manifestation of Infinite Grind”). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.

Uaar // Galger og Brann [October 17th, 2025 – Fysisk Format Records]

Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means “Gallows and Fire” in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen’s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like “Galeås” and “Den siste.” Post-flecked, Ancsty tendencies (“Alt Skal Brenne,” “Overalt”) peek through the feral hardcore riffage (“Håpet forsvinner”) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren’t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead—as in “Overalt” and “Dolken”—keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar’s Galger og Brann is a welcome—if late—addition to the list.

Scorching Tomb // Ossuary [October 24th, 2025 – Time to Kill Records]

I’ll be honest, I’ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn’t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter and Rotpit. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse’s guts. Drummer Émile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (“Feel the Blade”). “Stalagmite³ Impalement” and “Sanctum of Bones (Ossuary)” are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On “Skullcrush,” Sanguisugabogg’s Devin Swank perfectly matches Scorching Tomb’s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.

ClarkKent’s Gratifying Goodies

Sutratma // Adrift [October 3rd, 2025 – Self-Release]

While I didn’t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma’s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched “Wind and Sea.” This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios’s cleans effectively hit you right in the feels while the growls take on a more despairing note. There’s plenty of variety from song to song, with organs stealing the show on “Guiding Star” and a lovely melody on “The Great Bereaver” that builds up to a moving finale. Just like with Oromet, there’s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it’s nice to have something like this to remind us that it’s okay to just slow down—even when an angry ape is berating you for more content.

Starer // Ancient Monuments and Modern Sadness [October 10th, 2025 – Fiadh Productions]

Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023’s Wind, Breeze, or Breath and was taken in by Hines’s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on “I Cry Your Mother’s Blood” with some aggressively catchy melodies. The aggression continues on “Il-Kantilena” with its icy riffs and pumping blast beats. Meanwhile, “The Field of Reeds” combines the black n’ roll of Fell Omen with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like “Song of the Harper” do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines’s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.

Grin Reaper’s Haunted Harvest

Black Cross Hotel // Songs for Switches [October 31st, 2025 – Someoddpilot Records]

Three years after dropping their favorably reviewed debut Hex, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry and Killing Joke, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man (“Eyes from Nowhere”), Soulfly (“Blood Dance”), and Joy Division (“Typo”), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches’ distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won’t forget.

Miasmata // Subterrania [October 31st, 2025 – Naturmacht Productions]

Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025.⁴ In addition to the recurring influences of Windir (“Die at the Right Time”) and Iron Maiden (the intro to “Subterrania” smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener “Those Who Cross the Flame” struts out with a punky riff that wouldn’t be out of place on an Anthrax record, while “Full of the Devil” tastes as much like Testament or Havok as Diamond Head. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy and Subterrania, is one-man mastermind Mike Wilson’s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight’s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it’s over (an especially impressive feat considering the self-titled closer’s near fourteen-minute runtime). If you missed Miasmata’s latest on release day, go rectify that. Don’t let Subterrania get lost to the underground.

Dolphin Whisperer’s Autumnal Anomoly

夢遊病者 // РЛБ30011922⁵ [October 28th, 2025 – Self Release]

As if plucked into lucidity from amidst a hazy, proggy machination, РЛБ30011922 steps into its narrative—an exploration of a beloved figure in its creator’s life, including sound clips describing the trials through which she persisted—with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it’s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as ’70s King Crimson would, 夢遊病者, also known as Sleepwalker, makes their love of sound as clear as their love of РЛБ30011922’s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer’s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, 夢遊病者 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. РЛБ30011922, like the shorter form releases that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.

Saunders’ Slinky Sneaks

Enragement // Extinguish All Existence [October 31st, 2025 – Transcending Obscurity]

The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity, Glorious Depravity and Terror Corpse. Not to be discounted, Finland’s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album’s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment, Deeds of Flesh, Dawn of Demise and Benighted are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.

Stephen Brodsky // Cut to the Core Vol. 1 [October 3rd, 2025 – Pax Aeturnum]

There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In/Mutoid Man mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various ’90s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky’s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge, Texas is the Reason, Threadbare and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky’s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky’s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including “Windows” (Snapcase), “Benchwarmer” (Lincoln), “Fissures” (By the Grace of God), “Farewell Note to This City” (Converge), and “Voice” (Sense Field).

Soul Blind // Red Sky Mourning [October 10th, 2025 – Closed Casket Activities]

Riding a familiar wave of early ’00s alt-rock/metal and ’90s grungy nostalgia, New York’s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s/’00s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (“Dyno,” “Hide Your Evil”), grittier, more aggressive alt metal fare (‘Billy,’ “New York Smoke”) and airy, indie pop-rock (“Thru the Haze”). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed earlier in the year.

The post Stuck in the Filter: October 2025’s Angry Misses appeared first on Angry Metal Guy.

Upon a Burning Body

Blood of the Bull is indeed Upon a Burning Body firing on all cylinders – although its direction remains questionable. Ruben Alvarez’s guitar work is immediately recognizable, a bluesy edge and layered rhythms with manic solos to boot, Tito Felix’s drumming is as unhinged as you’d expect,¹ while Danny Leal’s vocals have returned to peak form, honed mids to complement his vicious lows – even bassist/vocalist Thomas Alvarez’s cleans are better than last go. In Blood of the Bull, poppier choruses contrast heavier to its breakneck riffs and metalcore leanings, leaving it slightly below Fury in its effectiveness but remaining a solid installment in Upon a Burning Body’s rodeo of a discography.

In many ways, Blood of the Bull exists as the band’s most experimental outing. While it channels Fury’s propensity for groove, Thomas Alvarez forgoes on the grungy tone almost entirely for the most soulful choruses the band has ever offered, tracks which often feature newfound synth in creeping intros or interludes (“Daywalker,” “Another Ghost,” “Living in a Matrix”). While the presence of these assets could potentially dull the teeth that Upon a Burning Body’s sound naturally possesses, they refuse to let that stop them. Their cleaner tracks feel bigger and more significant than ever before, albeit imperfect: the soaring melodies can feel shoehorned alongside groove or deathcore beatdowns, although the lyricism (for once) sometimes improves this issue (“Another Ghost”) and ruins it for others (“Reckless Love”). The mariachi returns full-force, a welcome homage to the group’s roots (“Sangre del Toro,” “An Insatiable Hunger”).

If the tracks with clean singing are risks with mixed payoff, then, when Upon a Burning Body conjures syncopated grooves and commanding vocals with memorable one-liners offer the best listening on Blood of the Bull. Furious shredding, wild solos, and Leal’s signature vocal attack offer a trifecta of headbanging goodness. No one growls profanity the way Leal does, and while it was noticeably absent in Fury, the “fucking” one-liners pump adrenaline (“Killshot,” “Curse Breaker”) while other tracks manage to feel kickass and brooding simultaneously (“Hand of God”), highlighting Upon a Burning Body’s vocal return to deathcore’s intensity. It can be odd and off-putting when songs that feature the most intense groove riffs can also feature those soulful choruses (“Daywalker,” “Living in a Matrix”), but aside from the aforementioned, these don’t feel as awkward as I expected.

Upon a Burning Body amps almost everything in its attempt to reconcile the old with the new, and if nothing else, the effort is noted. There is more than enough corny lyrics, ham- beef-fisted anthems, and soaring clean choruses aboard Blood of the Bull, but in this way, it feels more like Upon a Burning Body than they’ve been in a hot minute. Thankfully, if you can look past the flaws, the band’s seventh full-length is at its worst full of crunchy grooves, mind-numbing breakdowns, and jarring tonal shifts, but if that’s its worst – with Danny Leal and Ruben Alvarez leading the attack – that’s a worst I can get behind. Also, highlights like “Another Ghost” or “Daywalker” feel like flashes of potential not yet seen in lyrics or songwriting. For now, it’s Upon a Burning Body, love ’em or hate ’em: a whole lotta bull.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: uponaburningbody.bandcamp.com | uabbtx.com | facebook.com/uponaburningbody
Releases Worldwide: December 5th, 2025

The post Upon a Burning Body – Blood of the Bull Review appeared first on Angry Metal Guy.

With Zyon at the artistic helm, Chama filters Soulfly’s signature sound through a darker lens and enlists a slew of support. Chama feels like a natural progression from 2022’s Totem, which embraced a more calloused aesthetic after guitarist Marc Rizzo’s departure. Where Ritual’s thrashy tendencies welded melody with indigenous flair, Totem pitched Soulfly’s sound into darker territory. Chama continues this descent, adding industrial heft that imbues extra grit into the record’s grim sound (“Ghenna,” “Black Hole Scum”). This suits the narrative’s backdrop as ‘the boy’ escapes from the overpopulated slums of a developing nation. And speaking of overcrowding, Soulfly puts out the call to arms to help Chama arise (again). The album features Fear Factory’s Dino Cazares (“No Pain = No Power”), Nails’s Todd Jones (“Nihilist”), Arch Enemy’s Michael Amott (“Ghenna”), and vocal appearances from No Warning’s Ben Cook and Unto Others’s Gabe Franco.³ Throughout the album, Igor Amadeus Cavalera handles low-end duty while Mike DeLeon (Flesh Hoarder, Philip H. Anselmo & The Illegals) picks and wails on guitar.

Rather than dulling Soulfly’s bite, age has only honed the veteran act’s edge and intensity. The last ten years have seen the band shift away from sprawling structures, preferring ten (mostly) focused tracks in under forty-five minutes. Chama ups the ante, clocking in at only thirty-three. First proper song “Storm the Gates” launches with Max in fighting form, roaring with as much vitriol as ever while he commands us to, “Fight the power, fight the greed.’ “Ghenna” and “Favela/Dystopia” further evidence Max’s conviction, tightly channeling his righteous indignation. “Favela/Dystopia” and “Black Hole Scum,” meanwhile, conjure Ministry’s mid-90s atmosphere, evoking Filth Pig’s sludgy swamp stomp between intermittent bursts of drums ‘n’ chugs. Zyon finds moments to abuse his kit with satisfying zeal, where “Storm the Gates” and “Ghenna” highlight his performance, and Igor Amadeus’s bass asserts a self-possessed and audible sweet spot in the mix.

With so much going right on Chama, it’s a shame there isn’t more of it. This is the first time that I can accuse Soulfly of not supplying enough material, though a solid thirty-three minutes could have been enough. However, with two-minute intro “Indigenous Inquisition,” four-minute instrumental “Soulfly XIII,” the unnecessarily long intro to “Always Was, Always Will Be…” and the outro in the last half of “Chama,” we’re left with about twenty-five minutes of proper meat over this flame. That’s not quite enough to sate the requirements of a full-length,⁴ and the remaining songs don’t afford enough variety or substance to stand on their own. In isolation, individual songs get in, jumpdafuckup, and get out, but altogether, Chama feels light by a song or two.

Chama attests that Soulfly has gas in the tank and a destination in mind, and Cavaleras & Co. prove they can still pen a rousing anthem and bring it. While I can’t say this about every Soulfly album, Chama feels vital and important to the band, and that authenticity seeps into the sludge and the fury. The filler-to-killer ratio holds Chama back, but it’s a worthwhile listen for anyone curious what Max is up to these days or with half an hour to pass. Those familiar with Soulfly won’t be surprised at what they hear, but I wager many will appreciate how the band has distilled Chama into a controlled burn.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Official Website | Facebook
Releases Worldwide: October 24th, 2025

The post Soulfly – Chama Review appeared first on Angry Metal Guy.

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”¹ Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.² At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.³ Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,⁴ such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”⁵ This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

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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.¹ 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.² 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: Reigning Phoenix Music
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: August 15th, 2025

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Next 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.¹ 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 St. Anger, 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.

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LOMMI

Turns out my doubts were ill-founded: 667788 is a blast. The promo describes LOMMI as traditional/groove metal, and while this isn’t the first style that popped into my head when I pressed play, it’s also not inaccurate. They rely on heavy, low-tuned guitars and chunky bass riffs to lay down infectious grooves. The bass line on “Down” carries strong influences of Pantera’s groove classic “Walk,” if Pantera were stoner doom. Stoner doom, to my ears, best describes their sound. The opening guitars on “Sayonara” bring to mind a cleaner, less fuzzy High on Fire, and the epic riffs and cymbal-drenched percussion on “Rather” conjure The Sword. They also sprinkle a little blues and a not-insignificant pinch of grunge, from Alice in Chains to Stone Temple Pilots. I can’t help but think of “Vaseline” when Jens Florén sings “There’s a fly in my room and it keeps me awake” on “Wish.”

While this might make them sound like a clumsily cobbled-together Frankensteinian monster, LOMMI plays with a high level of swagger. This swagger is apparent when Florén cackles on “Sayonara” and throws out a “yeah!” here and there. It’s also there in his thick and meaty guitar riffs, such as those that open the raucous “Blood Moon.” Florén’s voice evokes the spirit of Lemmy from Motorhead and his riffs carry the energy of Rob Zombie. He’s not the only source of the swagger, though. Dennis Österdal’s other band, Transport League, may have been trashed by Grier six years ago, but his bass serves as the backbone on “Down” and “Children,” adding healthy doses of heft and groove. To quote the BFG, that blues-y bass line on “Children” is “scrumdiddlyumptious.” Jörgen Tjusling proves a formidable presence behind the kit. He sets a disciplined, mid-tempo pace, though he occasionally goes ape-wild on the cymbals. There’s a moment on the back half of “Sayonara” where he summons Black Sabbath a lá “War Pigs.”

From the simple song titles to the tight songwriting, this trio seeks to prove the mantra that “less is more,” no matter how many times Angry Metal Guy quotes Yngwie Malmsteen’s “more is more” counterpoint. Over 8 songs, LOMMI provides 38 minutes of no-frills, high-octane fun. However, there are a few momentum-killing moments where songs meander with little purpose. Unsurprisingly, these moments occur on the only two tracks that surpass 5 minutes. While “Blood Moon” has some of my favorite riffs, the final few minutes go into freestyle jam session mode, where your mileage may vary. On “Children,” the bookends are terrific, but the middle portion feels like an entirely different, more sluggish song, a rare moment where the band seems unsure how to fill the time. These few minutes are just a minor issue, however, on an otherwise rollicking record.

667788 just may have put LOMMI on the map; at the very least, it put them on my map. It proves not just the prowess of the individual performers, but their songwriting acumen. Despite their limited credentials, they play as if they were masters of the craft, and that’s saying something for what is possibly a debut album. This one took me completely by surprise, and it’s one of those records where 750 words just isn’t enough to say everything I want to. Hopefully, it doesn’t take another decade to write the follow-up, but if you put out a record this good, who’s to dispute the process? If you love big riffs and big fun, don’t miss out on these guys.

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Majestic Mountain Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 1st, 2025

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