The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated mathses, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”). So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who yell at teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical, so you know it’s mega serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.

Commence panic chords!!

Deadguy // Near-Death Travel Services – While the mathcore world is deeply indebted to the likes of Converge, The Dillinger Escape Plan, and Botch, New Jersey’s Deadguy is your favorite mathcore band’s favorite mathcore band, and Near-Death Travel Services picks up right where 1995 stylistic landmark Fixation on a Coworker left off. It feels like a throwback to the 90’s, a rough and raw edge and bass-heavy thickness adding to the chaotic hardcore attack, desperate and vicious rhythms (“Kill Fee,” “Barn Burner”) as well as dwelling in the simmering cacophonies (“The Forever People,” “All Stick and No Carrot”). Near-Death Travel Services is a hardcore anthem at heart, with the madness of mathcore’s earliest innovators – it’s a return to form for Deadguy as if thirty years of silence never happened.

The Callous Daoboys // I Don’t Want to See You in Heaven – Everyone loves The Callous Daoboys. If you don’t fuck wit’ Carson Pace, Jackie Buckalew, and company, fuck right off. Compared to its sassy catalog, I Don’t Want to See You in Heaven is much more aggressive and in-your-face. The collective still embraces the wonky jazz- and flamenco-influenced movements and clean vocals (“Tears on Lambo Leather,” “Body Horror for Birds”), 2025 finding more of a traditional emo influence than ever (“Lemon,” “Two-Headed Trout”), the real meat of this album is a kick in the teeth, with a nearly deathcore heaviness assaulting the ears with blistering intensity (“Schizophrenic Legacy,” “III. Country Song in Reverse”). I Don’t Want to See You… feels like pure weaponization, yet it’s undeniably The Callous Daoboys in the best ways.

Pupil Slicer // Fleshwork – Something was missing in Pupil Slicer’s 2023 album Blossom. Whether it be the vulnerable alt-rock influence or more experimental songwriting, it felt like a distinct step down from the mechanical mathgrind insanity of Mirrors. Fleshwork fills that missing piece. Vocalist/guitarist Kate Davies and company, including new bassist Luke Booth, balance the surgical with the accessible through a thick haze of noise rock atmosphere and warm rumbling bass, tracks achieving a striking warmth and disorienting psychedelia through more subdued techniques (“Fleshwork,” “Nomad,” “Cenote”) and a savage blistering saturation in others (“Gordian,” “Black Scrawl”). It’s a simple trick to balance industrial precision with noisy warmth but it pays dividends for the London trio: Pupil Slicer releases its best album yet.

Kaonashi // I Want to Go Home. – TikTok mathcore feels oxymoronic, but Philly’s Kaonashi gained more traction on the platform than any other band of the same ilk.¹ Gaining notoriety from Peter Rono’s controversial vocals – more howl than scream – the act injects a far more prominent dose of post-hardcore, punk, and emo into its story-driven approach. Mathcore’s stinging panic chords and off-kilter arrhythmic chugs are present, but given the vocals and lyrical focuses on mental health, childhood traumas, and relationships, it’s a controversial act to begin with, having more in common in melody and theme with Midwest emo or City of Caterpillar-esque screamo. I Want to Go Home. is a jagged, inspiring, awkward, powerful, and overlong product of a truly unique act with a divisive style.

Theophonos // Allegheny Rains – The man behind the concluded Serpent Column project, Detroit’s Jimmy Hamzey, fuses a scathingly dissonant black metal attack reminiscent of Ceremony of Silence with the hardcore attitude and jagged rhythms of Converge, resulting in a more chaotic, mathier Plebeian Grandstand. Allegheny Rains, his third full-length, continues the distinctly American industrialist soundscape established in Ashes in the Huron River, combining the all-out assaults of pitch-black chaos with whirlwinds of panic chords and pick sweeps (“Death in the Current Year,” “Gray Shovels”) to punky hardcore romps (“When the Future Arrived,” “Fragility of Spring”), and ominous crawls through densely dark textures (“The Fulcrum,” “Edelweiss, My Love”). AI art aside, Allegheny Rains is a dark blaster that serves to get the avant-garde black metal fans some rhythmic chaos and to compel mathcore fans to get some culture for once.

fallfiftyfeet // Counterfeit Recollections – fallfiftyfeet is all about variety. Establishing their sound quietly through a debut full-length four years ago and scattered splits, the West Virginia trio’s foundation of metalcore – yes, the sellout kind – is built upon by post-hardcore vocals, screamo grinds, and mathcore’s warped melodics. Featuring crushing breakdowns and poppy choruses that feel straight outta Hot Topic in 2009 (“Counterfeit Recollections,” “Best Revenge”), ominous clashes of the brutal chugs and dissonant melodics (“Disarrangement,” “Phantom Growing Pains”), and mathy beatdowns (“The Kingsport Curse,” “Horror Tropes”). What’s notable is that fallfiftyfeet doesn’t necessarily fall into the late-2000s metalcore stereotype because their melodic template is rooted in the Botch, even if their songs sound like B-sides of Asking Alexandria. The result is a metalcore album you can feel slightly better about blaring wit’ ur homiez.

Adobe Homes // Años – Albuquerque quartet Adobe Homes is more the screamo side of mathcore you see in bands like Frail Body, Ostraca, or the tragically Dolph-neglected Massa Nera – the line between chaos and yearning is blurred. To be fair, you’d be remiss to turn on a few tracks and hear a screamier rendition of math rock shiftiness in Cap’n Jazz or Pianos Become the Teeth (“Return”), complete with emotional chord progressions, complex layered plucking, desperate shrieks, and melancholy singing. Doin’ my home state proud with the skramz a la mathy rhythms and manic drumming (“Tennamis,” “Satandelay Me¡ White Empress,”² “Pals”), emo anthems fed through the Delta Sleep machine (“Pacheco,” “File Under ‘Heartache’ for 2010-12”) and placid and heartfelt instrumental pieces (“Return,” “Translated into Flesh”). Adobe Homes is gentle and yearning, its mathcore attack more like a pillow fight, but its emotion more than compensates.

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While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.¹ This is one trip to limbo you won’t want to miss!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

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Crystal Lake

The Weight of Sound is the heft of change and consistency alike for Crystal Lake. A notable change is the departure of long-time vocalist Ryo Kinoshita, who released the debut for his solo project Knosis last year, and was replaced by John Robert Centorrino, former vocalist of The Last Ten Seconds of Life. The band acknowledges that Kinoshita’s shoes are nearly impossible to fill; to supplement, Centorrino is backed by an array of guest vocalists: David Simonich of Signs of the Swarm, Taylor Barber of Left to Suffer and Seven Hours After Violet, Myke Terry of Volumes and Fire from the Gods,¹ Karl Schubach of Misery Signals and Jesse Leach of Killswitch Engage. Consistently, however, the instrumental approach is the same, bringing back the nu-metal-meets-djent-meets-hardcore chugs (whose absence made the last two outings toothless), as well as that trademark ethereal guitar layers. The result, however, falls woefully short compared to Crystal Lake’s landmark albums, as the knuckleheaded overtakes the thoughtful and the vocals become a monotonous muck.

For positives, when Crystal Lake manages to balance the heavy and the atmospheric, tracks can truly soar. Yearning chord progressions, layers of melodies and sustained trills, and desperate vocals combine to add a nice dose of melancholy and fury, accented by the band’s signature guitar tone that balances djent weight with hardcore urgency. Even Centorrino’s cleans are a nice addition throughout these tracks, distant shouts or croons that recall Brett Gurewitz’s guest spot in Parkway Drive’s “Home is for the Heartless:”: tasteful and subtle. These tracks primarily populate the back half, a calm after the storm of metalcore pummeling, complete with a more somber mood (“The Undertow,” “The Weight of Sound,” “Sinners,” “Coma Wave”) that recalls more melodic hardcore-inflected metalcore acts like Counterparts or The Ghost Inside. The patience in the songwriting of these moments is also noteworthy, as movements feel nicely unhurried and appropriately contemplative.

Crystal Lake’s balance of the atmosphere and chug, as well as vocal charisma, have always been assets, but they plague The Weight of Sound. Don’t get me wrong, I didn’t love Helix’s more light-and-airy vibe, but too many tracks are just too knuckleheaded here to make a splash, particularly the opening “unnecessary contractions” triptych (“Everblack,” “BludGod,” “Neversleep”), which seem like the band’s metalcore answer to Signs of the Swarm’s To Rid Myself of Truth. Meanwhile, other tracks seem to be wildly inconsistent and are true head-scratchers in terms of placement in the tracklist, featuring bluesy Southern vibes (“King Down”) or awkward shifts between heavy and ethereal (“Dystopia,” “Crossing Nails”). Each placement in the playlist at large feels shoehorned and abrupt, from balls-to-the-wall heavy to southern to ethereal, to confused. For the number of guest vocalists that appear throughout The Weight of Sound, Centorrino’s vocals make them difficult to discern with his smokier and denser presence. It’s unclear if this makes him a better performer or if the production value is just that putrid – or both.

To their credit, Crystal Lake hasn’t had to change up their sound since Kinoshita’s departure, and the balance between ethereal atmosphere and chuggy metalcore remains a formidable asset. However, scattershot songwriting and odd track placement doom effectiveness beyond a few sparse moments to break up the confused, knuckleheaded beatdowns. The Weight of Sound is everything you loved about The Sign eleven years ago, but with less identity and more distraction, chugging along for one song before brutalizing you with breakdowns the next. But most notable is Crystal Lake’s lack of direction: The Weight of Sound is all chugs and atmosphere with no clear purpose.

Rating: 2.0/5.0
DR: N/A | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: crystallake-worldwide.com | facebook.com/crystallake777
Releases Worldwide: January 23rd, 2026

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URNE serves up nearly fifty minutes of Mastodon-infused metalcore on Setting Fire to the Sky. Yes, you read that correctly. Nothing on their third album feels reminiscent of the classic-rock-infused, post-hardcore sludge on their debut, or the post-metal epics on A Feast on Sorrow. Instead, their latest is stuffed with songs that, while expertly played and produced, feel soulless. Joe Nally sounds like a different singer at this point. While his clean singing is infinitely more competent, it sounds too similar to Mastodon’s Troy Sanders. Nally’s basswork fares better, and he manhandles the frets along Angus Neyra’s thrashy riffs and James Cook’s punchy drumming. The trio sounds great, and their work has been honed like a razor, likely due to their time alongside massive acts like Gojira and Mastodon, but they lack the creative bend of either. Setting Fire to the Sky feels meant to cast a wide net, playing arenas and the radio, but leaving much of the spirit (heh) that was present on SPIRIT & SERPENT to wither.

Expectations hurt URNE on Setting Fire to the Sky. After A Feast on Sorrow, I saw a band poised for their best work yet. URNE’s latest shows a tighter band playing well, and the production is much better than their last outing, but nearly every other facet feels weaker. Songs quickly grow formulaic and repetitive, with “Be Not Dismayed,” “The Spirit, Alive,” and “Setting Fire to the Sky” starting with a chuggy opening riff (usually the best part) and slowly morphing into a generic metalcore song. Each features the typical swing back and forth between core-style screaming and harmonized clean choruses that feel hamfisted, with generically uplifting lyrics like “Be not dismayed and carry this torch forward.” The album lacks the flourishes of URNE’s past two releases, and rarely do songs deviate from their repetitive structures.

Setting Fire to the Sky isn’t all disappointing. As previously mentioned, the production is great, and James Cook’s snare sounds wonderful throughout. While formulaic, the album is full of riffs that will at least get you headbanging, even if they are without pathos. “The Ancient Horizon” is an album highlight, featuring a massive lead and a sound worthy of its title while avoiding the pitfalls of the metalcore hole URNE has crawled into. Album closer “Nocturnal Forms” falls on the good side of Mastodon worship, with a chorus that feels like something off Emperor of Sand. A few features appear on the album, like the aforementioned “Harken the Waves” with Troy Sanders. A song that feels somewhat comical given Joe Nally’s clear worship of Sander’s iconic style, making for a feature that feels obligatory but not complementary. The second, “Breathe” with Jo Quail, goes nowhere. An overly sappy tune with bland cleans and cringe lyrics like “I saw the world, before the world saw me.” Neither feature feels necessary, and with the latter, you have a track that could be cut altogether.

I had high expectations, but Setting Fire to the Sky failed to meet them at every turn. The band’s sound changed in a way that many metal fans are familiar with. More generic music, more radio-friendly songs, more clean singing, all the things that make longtime metal fans cringe and flip on a group. While I foresee this album ending up all over year-end lists on the normie sites, this record is a shadow of the band’s clear inspirations and shows a group that should return to what made them stand out in the first place. At least the album artwork is gorgeous.

Rating: Mixed
DR: N/A | Format Reviewed: Stream :(
Label: Spinefarm
Websites: urneofficial.com | instagram.com/urneband
Releases Worldwide: January 30th, 2026

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Here we go again, another day, another genre that generally gets written off by the metal faithful. Metalcore is a gateway for many metalheads, but it rarely has staying power past those formative years. I had the opposite experience, and only really found metalcore that I enjoyed well into my heavy music tenure. Dying Wish is one of those bands that dug its way out of the pit and drilled its way into my brain. The band’s latest album, Flesh Stays Together, is an emotionally charged ripper filled with catchy hooks, vicious breakdowns, and a manic energy more akin to acts like Venom Prison than its contemporaries.

Dying Wish vocalist Emma Boster is the immediate standout, and their vitriolic, raspy screams combine with rich, deep cleans to make for hooks that last. Metalcore is full of mediocre vocalists who are decent screamers with terrible clean singing, making many bands’ music feel perfunctory rather than genuine. Not here, Boster is a top-tier mic-barker, and Flesh Stays Together is stuffed with memorable moments. “Revenge In Carnage,” “Nothing Like You,” and the title track are just a few examples where they shine. Dying Wish doesn’t let the ball drop elsewhere, and the rest of the band keeps pace. Guitarists Pedro Carillo and Sam Reynolds bring the hammer with impactful breakdowns bolstered by production that can stand the weight. While Flesh Stays Together leans more on the hardcore side with its guitarwork, the abrasive pick-scraping, thoughtful leads, and quality mixing raise it above the heap. Jon Mackey’s bass is the thrumming soul of the album, audibly chugging in the background and adding impact to every note. Lastly, a clean and natural snare with a solid punch from drummer Jeff Yambra rounds out a band that knows how to bring the core to metalcore without carrying all the lame baggage that usually comes with it.

Flesh Stays Together hits hard and is impeccably played, as all good metal should be, but the powerful emotional core is even more potent, permeating the entire album. “Nothing Like You” calls out toxic family behavior and alcoholism, and Boster swears to be better than those who came before them. Even well-worn tropes have a hard edge, with the title track becoming both a call to arms and an ode to the power of becoming infatuated. When Boster sings, “I’d massacre all of heaven for you”, I can’t help but feel similarly about protecting the ones I care most about. Flesh Stays Together is a dark look at the worst in us, putting a mirror up to how family shapes our flaws, and Boster tackles these demons head-on.

The post Dying Wish – Flesh Stays Together [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.

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Debut albums are a fickle thing. Often the strongest release by a band for years to come, even giving rise to the term “sophomore slump” when the inevitable follow-up can’t hit the same highs. And so, debuts are make-or-break. For Tampa’s

I had no clue Cold Steel existed before their debut LP showed up in AMG’s promo pile-up, but the great hooks and a sick album cover (I am a simple woman) piqued my interest. I was immediately addicted to the catchy songs, frantic pacing, and infectious energy. Power Trip is fucking awesome (original take), and they constantly came to mind while I spun Discipline & Punish on repeat. It was no surprise then, when I learned that Cold Steel’s debut was produced by none other than Arthur Rizk (Blood Incantation, Undeath, Power Trip), it makes sense that they are the first band in a while that capture that same brand of hook-driven, manic energy that makes you wanna break a bottle on your head and start a bar fight. Jose Menedez’s vocals immediately reminded me of Riley Gale’s (RIP) signature mix of thrash edge and punk passion, mirroring some Power Trip greats, like “Firing Squad” and “Waiting Around to Die”.

It comes as no surprise, then, that the production suits Discipline & Punish perfectly. Things never get as grimy or lo-fi as many of their inspirations; Menendez’s voice is crisp and clear while leaving space for a raw edge that keeps Discipline & Punish sounding immediate and decidedly thrash. Every instrument has space to thrive as massive hardcore breakdowns mix perfectly with intertwining thrash riffs. The triple (yes, triple) guitar assault of Rafi Carbonell, Shawn Wallen, and Rafael Calderon weaves between criss-crossing rhythms, hooky leads, and melting faces. As a cherry on top, Janpierre Mojica’s bass sounds thick and juicy, slamming along like a lumbering beast through the warzone of sound. Brandon Thrift’s drums tie the whole thing together, with clear percussion, driving kicks, and a military-esque tinge that fits the album’s theming well.

Menendez is a high point of Discipline & Punish. His vocal phrasing and energy drive the whole album. You can’t help but bounce along as he screeches “Blood by the liters, they’re not gonna need em” on “Killing Season”, or ripping through “Front to Enemy” alongside a feature with Aaron Heard of Jesus Piece. Like a snowball in an avalanche, Menendez gains more speed, momentum, and ferocity throughout the record, barreling over everything in his path. The biggest surprise on an album full of rippers is “Smoking Mirrors,” featuring local hip-hop/hardcore duo Two-Piece. The combination of ’80s-esque record scratches and looping off-tone siren mixes perfectly with the hooky, chugging riffs and Menendez’s manic energy. Cold Steel takes an idea that should end up like oil and water, and turns it into chocolate and peanut butter.

There are so many good things to say about Discipline & Punish. The record is tight but not too short at ten tracks and thirty-five minutes, making for a listen that is all killer, no filler. It is impossible to even pick highlights between so many standouts. From the unhinged “Front to Enemy” to the crushing “Blacksmith of Damnation” or the bouncing “Killing Season”, there is something for everyone. Then there is the surprising “Smoking Mirrors”, the atmospheric “Fever Dreaming”, and the epic closing track “The Coldest Death”, with a finale that brought to mind Horrendous of all things. Cold Steel keeps you on your toes the whole time. It is an embarrassment of riches with Discipline & Punish, an album that demands you hit the play button one more time with every spin. No album is perfect, but Discipline & Punish is a hell of a start for a young band making their foray into a storied and crowded genre. Luckily, it already looks like Cold Steel doesn’t intend to rest on its laurels, with a mix of genre-bending tracks that stretch the lines of crossover thrash and hardcore. The title may call to mind authoritarian torture, but if Cold Steel is administering the pain, you are in for a good time.

Rating: 4.0/5.0
DR: NA | Format Reviewed: A goddamned stream
Label: Spinefarm
Websites: coldsteel813.bandcamp.com | instagram.com/coldsteelbandfl
Releases Worldwide: November 7th, 2025

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You Are Safe From God Here has its moments of doom and post-metal atmosphere and songwriting, but it feels like the spiritual successor to 2020’s Slow Decay – colossal, dense, and pissed off. The Acacia Strain weaponizes doom and sludge in its devastating guitar tone that swallows listeners whole, guided by Vincent Bennett’s husky roars and Matt Guglielmo’s rabid percussion – all for the service of a more explicitly anti-religious stance. The album title and its tracks reflect this, although Bennett has stated that the idea of “God” has more than just religious connotations: basically, anything that rules a listener’s life, this album offers a safe place from it. In many ways, the album feels a bit like a fusion of Step Into the Light’s brevity and Failure Will Follow’s ambition – weaponized to be Slow Decay’s spiritual successor. You Are Safe From God Here is the hardcore/deathcore heavyweights continually firing on all cylinders, although The Acacia Strain remains hindered by a few habits.

While the one- to three-minute bruisers populate the track list, closer “Eucharist II: Blood Loss” feels like an adherent of the band’s long-form content. This proves to be the most ambitious and the most divisive moment of the album, its almost fourteen-minute length comprising a huge chunk of the album’s thirty-three minute runtime. Featuring vocalist Sunny Faris of hard rock/doom outfit Blackwater Holylight, it wavers between mountainous riffs and Bennett’s commanding roars and ambient placidity and Faris’ vulnerable croons (not unlike iRis.EXE’s performance in “Pillar of Salt”). A highlight of dynamic songwriting, it nonetheless suffers from the thorn in The Acacia Strain’s side: production. While the rest of the tracks are so swallowed in downtuned ridiculousness (positive), the negative spaces of “Blood Loss” highlight the snare’s glaringly compressed and synthetic tone, while the stunning lack of filth belies its dense guitars. A truly frustrating chink in the armor for The Acacia Strain, whose sound is constantly evolving yet is constantly let down by its sterile production.

Blessedly, the groovy short-form tracks that comprise the majority of the tracklist remain unfuckwithable. The Acacia Strain rides the line between speedy blastbeat-guided hardcore sprints and the down-tuned monolithic dirge bruising that have you wallowing in tonal abuse – driven by Bennett’s formidable vocal attack. Intentionality is the name of the game, mindless breakdowns and ominous tones anchored to a strong foundation of groove, feeling like organic progressions rather than the stereotyped beatdowns shoehorned into existential-core crises. The more hardcore-adjacent rippers offer momentum (“The Machine that Bleeds,”¹ “A Call Beyond,” “Aeonian Wrath”), the sludge-steeped tonal seepage allows down-tuned reveling (“Acolyte of the One,” “Sacred Relic”), but the groove-infected tracks prove to be the real winners (“Mourning Star,” “Holy Moonlight,” “World Gone Cold”), balancing dynamic movement between swallowing sludge and raging hardcore fluidly. These tracks feel like an improvement from Step Into the Light in nearly every way: denser, faster, more haunting, and more pissed off.

On almost every level, You Are Safe From God Here is The Acacia Strain’s best album. Retaining that hugeness they are renowned and hated for in equal measure, while fusing its more experimental styles into a cohesive whole guided by a singular theme, the deathcore veterans show willingness to experiment without sacrificing their brand. However, the band’s contradicting proclamations of filth and sterile production do not do it any favors, declawing some of the more vicious numbers and dropping the facade for its more manufactured pieces – keeping the band from the greatness of which they are so capable. That being said, You Are Safe From God Here is a banger for the better.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Rise Records
Websites: theacaciastrain.bandcamp.com | youaresafefromgodhere.com | facebook.com/Theacaciastrain
Releases Worldwide: October 24th, 2025

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The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.¹ The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.² The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Saunders’ Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

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Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh.

It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime.

With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it.

Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness
Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn
Releases Worldwide: October 17th, 2025

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