It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.¹

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.² But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.³ It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.

Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

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If you know anything about grumpy ole Grier, you know he’s been dry-humping Bizarrekult ever since 2021’s Vi Overlevde. “Dry-humping” might not be the correct term. Maybe passionate lovemaking? Yeah, that’s the stuff. But, in all seriousness, this little band came out of nowhere and has been making waves in such a short time. While the debut had me glued to my seat, the follow-up, Den Tapte Krigen, damn-near bolted me down—to the point that I had to cut myself out of my pants to break free. If that had been the band’s swansong, I would have been just fine for the rest of my life. But Bizarrekult is back to ruin another pair of my pants. Behold! Alt Som Finnes!

Before we begin, let’s explore some of the new additions Bizarre and co. have brought to the table with this new outing. While the general structure of the output remains the same, the approach can vary. Joining the ranks of second-wave Norwegian black metal, Alcestian meloblack, and Enslaved-like intricacies are three guest vocalists: Yusaf “Vicotnik” Parvez (Dødheimsgard), Lina (Cross Bringer, Predatory Void), and Kim Song Sternkopf (Møl, The Arcane Order). I’m not sure whether the songs were created with the guests in mind or whether they evolved during the songwriting process, but each song was made for its guest. Each with a gentle, clean vocal style, you can expect some of the most melodic, gorgeous accompaniment in the Bizarrekult’s repertoire. And besides Sternkopf’s contribution to the closing “Tomhet,” this song is also the first ever to be penned in English. Not that we metalheads have an issue with songs in a country’s native language, unlike the rest of the mainstream poser fucks. But it’s a nice addition.

Alt Som Finnes kicks off with a surprising piece in the form of “Hun.” Mostly surprising in its simplicity and short runtime. Alternating between clean and distorted vocals and ripping blackened riffs, this track only whets the whistle—nothing more and nothing less. Which leaves me wanting more before “Blikket Hennes” slaps the fuck out of me like a cat who hasn’t received its treats. This track has a thick bass, unsettling old-school black metal dissonance, venomous Aldrahn-like growls, and a trudging pace slowed by tar. Then, it collapses into a gorgeous atmosphere as Parvez’s beautiful vocals hit hard and crush the olde ticker like it’s made of parchment.

There are so many reliable tracks that it’s difficult to choose one over the other. That said, “Avmakt” is a beautiful piece with one of the most memorable black metal licks I’ve heard in some time. And not because it’s thrash, death, or any other sort of approach, but because it’s a killer true black metal riff. As the song progresses, the melodies expand like an ever-growing blanket that settles over mountains and valleys, like giants slumbering below the fabric. It’s one of those songs that proves you don’t need the beauty of the clean vocals of “Blikket Hennes” to achieve the same task. While there are others in the same vein as “Avmakt,” “Aversjon” takes it to another level with its influences. Opening with slow-moving melodics and sorrowful sustains, it quickly goes dark, slithering below the Earthly strains like a viper. But, like a miracle at the darkest of times, an uplifting, Alcest-like air breathes over—pushing deep and far, even into Enslaved-esque prog-tivity.

On first spin, Alt Som Finnes is an absolute rollercoaster of emotions that, even though it’s not uncommon for Bizarrekult to instill, leave me completely crippled by the end. Outside of the surprisingly two-pump Chuck that is “Hun,” the rest weave together while many still try to resist the tempting urge to give in and conform to the predictable fabric patterns. Instead, you have a glowing blanket that is also scorched and tattered beyond repair. Though it remains intact, when touched, it feels both gentle and painful at the same time. It’s a conflicting album in its tone but not in its delivery, and the intricacies of this slow burner try hard to topple Den Tapte Krigen from its perch. Who knows where it’ll stand in time, but, regardless, this new outing is a worthy addition to the Bizarrekult family.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Season of Mist Underground Activists
Websites: bizarrekult.bandcamp.com | facebook.com/bizarrekult
Releases Worldwide: February 20th, 2026

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The first review of the year always brings a strange sensation. After a long year of reviewing great, good, meh, and fucking terrible records, it gets even longer come November/December with list season. The amount of work increases more than ever as you write your blurbs, edit others, and constantly monitor comments by those who wrongfully disagree with you. After list season comes to an end, there’s an involuntary sigh of relief that all the work got done, and while a lot of the lists were shit, stylistically and format-wise, they looked good. But the first review of the year is a different kind of sigh. Not one of relief but one of “here we go again.” So, with my knuckles cracked and promo downloaded, I dive into Spanish thrashers, Furi Helium, and their sophomore outing, No Altar Stands Eternal.

I’m not gonna lie, I absolutely picked this promo because of the band name. Ignoring spelling and pronunciation, the thought of “furry helium” is fucking hilarious to me. As I rolled around on the floor, with kids and cats alike watching in bewildered horror, it was brought to my attention that “furi helium” can be translated to “black sun” in Latin. Fine. Take all the fun out of my life. But, after my initial spins, I came to appreciate this little gem because Furi Helium is much in the vein of Spanish brethren (and one of my favorite thrashers), Crisix.¹ So, instead of imagining furry gases that give you a high-pitched voice and furballs, I’m pummeled with crushing riffs, punchy gangshouts, memorable choruses, and a bass presence deserving of better production. Which, I suppose, I can accept.

Like many of the other neothrash outfits these days, the opening track, “Bloodspiller,” launches into a simplistic approach that sets the tone for the album. But it isn’t until a couple of songs later that No Altar Stands Eternal really takes off. “Criminals” introduces some nifty guitar work and a charging attitude. From there, it alternates between a galloping riff and one of the more memorable choruses on the album. At the album’s midpoint, the back-to-back “Tidal Disruption” and “Fall in Disgrace” rule the roost. While both have killer riffs throughout, what makes these songs so special is the massive bass presence. While it’s been there up to this point, it’s dialed up to eleven, and the performance is stellar. “Tidal Disruption,” in particular, is a banger. It features punchy vocals that perfectly match each drum hit, plenty of melodic At the Gates vibes, and the standout chorus on the record.

Others worth mentioning are “12 Mirrors” and the closer, “The Chronophage.” The first is up there with songs like “Tidal Disruption,” laying to waste anything in its way with a kickass thrash groove and gnarly fucking vocals. It’s a monster mash of Crisix attitude and riffs that get better as they go. The closer is the black sheep of the record, loaded with a thick layer of melodic laquer and dark, swirling atmospheres. It also gives off a lot of The Haunted vibes—growing and falling along a path of thick riffs and soothing movements—producing a near-perfect ending to this sophomore effort.

The main issues I have with No Altar Stands Eternal are that it takes a bit to get going, and the production is not worthy of the skill. While the first handful of songs are worth a listen, by the time you get to “Criminals” (the fourth track on the album), the album really begins to blossom into something special. From there, it’s nonstop satisfaction. I only bring this up because some might bail before the good stuff emerges, and that would be a terrible mistake. While the production isn’t bad, it only bothers me because the nooks and crannies are what I’m most interested in. Whenever the bass controls a song’s flow, it feels dialed up to accommodate it. Otherwise, it sits comfortably in the background. With a dynamic master that can breathe and throb with all the intricacies throughout, we might experience the bass and other subtleties as intended. So, someone sign these sons of bitches and give them money for a higher-quality product. All that to say, I really enjoy this record and shall be jamming to it for months to come.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-Released
Websites: furihelium.bandcamp.com | facebook.com/furihelium
Releases Worldwide: January 22nd, 2026

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To anyone who actually found 2025 to be a solid-to-great year, I envy you. For me, 2025 was one of the absolute worst years of my life. And that counts divorce and suicidal years. With many of you, it began with working my ass off to keep my job in these trying times of financial uncertainty—especially with AI rearing its ugly fucking head. Well, that’s before that bubble bursts and causes more issues than it did before. Then, after returning from a NYC work trip, my 19-year-old black devil, King, collapsed from liver failure, resulting in having to put down a feline friend I’ve raised since a kitten and who I had as my companion for nearly half my life. Jump ahead a few months and, out of the fucking blue, my father collapses in the yard, never to regain consciousness again. With months of heartbreak and stress coming down on my heart like a rain shower of titanium dildos, some professionals were convinced I suffered a literal heart attack. After months of tests and medications, it’s clear that age and stress have crept up on me. The result of all this shit led to one of the worst years of productivity in the sacred halls of Angry Metal Guy. So, I apologize to everyone for the lack of output, especially when 2025 was a solid-to-great year of metal releases. Hopefully, this list will suffice and provide a few killer records that the rest of the crew idiotically withheld.

I’d be lying if I said listening to music and writing reviews came easily to me this year. Hell, writing in general has been difficult to do, and I do it for a living. But the fun, creative elements of AMG have been lost to me for months, which is sad as hell because I know I have way more curse-word combinations flowing through my veins. Thankfully, the support of this group and my family has been fundamental to getting me back on a path to mental and physical health so I can feel somewhat like a normal person. Thankfully, keeping busy with editing/deleting other writers’ lists¹ and putting together my elite one has brought back a touch of spark. While I will always be the grumpy Grier that everyone knows and loves hates, I do appreciate the support from the entire gang—being a part of this monster that AMG built, being belittled by Steel, being filthy with Kenny and Grymm, trolling Dolph, hating on Doom, annoying the Shark, and getting provocative gifts from Ferox—because it’s a surprisingly therapeutic experience. Which is kinda fucked up, now that I think about it…²

So, let’s raise a glass to this coming year and let’s hope it’s a 3.5/5.0 compared to this 0.5/5.0 one. And enjoy these awesome picks you ignored because some of these idiots colluded for analytics.

#ish. The Haunted // Songs of Last Resort – This selection surprised even me. Though I fucked up and ran out of time to review The Haunted’s newest opus, Songs of Last Resort, it regularly surfaced on my playlists and, in classic Grier fashion, secured my “ish” selection. If you’re new to a Grier list, I reserve my “ish” pick for those records I can’t put down. Though in most cases, these selections can legitimately be considered my eleventh pick. Regardless, Songs of Last Resort is a welcoming return to form that reminds me a lot of the band’s output during the period of One Kill Wonder and RevolveR. Sure, it helps that One Kill Wonder’s Marco Aro is back in the band, but this album’s flow is similar to those others. The longest track on the record clocks in at four-plus minutes, while the others come and go like a phantom sucker punching each time you arrive at a new landing on a creepy-ass staircase. After being set up perfectly with the addictive opening track, “Warhead,” the short, punchy “Death to the Crown” swings a left hook before the chonky bass-kicking “Bleeding Out” has you belting the chorus at the sky. Then, the whole thing drops into the mid-paced back-to-backers, “Labyrinth of Lies” and “Letters of Last Resort.” Come all The Haunted enthusiasts and let us rejoice.

#10. Sexmag // Sexorcyzm – SEXXXXXXXMAG!!!!! You all knew this was going to happen. But really, it makes perfect sense when you consider the influences these crazy Poles incorporate into their music. Bands like Bathory, Darkthrone, Slayer, and Mercyful Fate, to name a few. After years of demos and EPs, Sexmag finally released their first full-length under the ever-sexy name, Sexorcyzm. Even sexier are track names like “Inkubus,” “Sex z diabłem,” and “Psalm I – Intronizacja Szatana.” I don’t know what any of them mean, but they either have “sex” in the title or just sound sexy. But, in all seriousness, the band’s wild blend of black, death, and thrash influences makes this one of the funnest records of the year. The skill is impressive, the vocals are outlandishly ugly, and the album’s dynamics bring everything to life in the most pleasing and gross way. If you skipped on this album because you thought Grier was doing one of his assinine trolling fests, you are wrong, and you need to correct your sexiness.

#9. Vintersorg // Vattenkrafternas spel – While not the band’s best output in a long line of great albums, Vattenkrafternas spel is still one of the best Viking/folk metal records of 2025. Infusing the Vintersorg of old with the new, Vattenkrafternas spel sets out to capture the hearts of its entire fanbase in this meaty, hour-long journey through the band’s signature Viking, folk, and progressive landscapes. The production does wonders for the album when compared to past offerings that are as compressed as hard tack. Be it the blackened beauty of “Efter dis kommer dimma,” incorporating gorgeous, male and female clean vocals, or the folky “Malströmsbrus” with its Vintersorg yodeling and addictiveness, Vattenkrafternas spel pushes and pulls on those strings of yore to bring you something comfortable yet refreshing. That said, no Vintersorg record is complete without the outrageous key atmospheres so prevalent and unique to their sound. Songs like “Ur älv och å” and “Ödsliga salar” fulfill that urge, ensuring erections for this kind of key play remain hard and girthy.

#8. Bear Mace // Slaves of the Wolf – As many of you know, I am not a big death metal guy. I was at one point, but the predictability of the style, as it became trapped on endless repeat as old masters tried to remain relevant into the 00s, began to turn me off. That’s not uncommon for any other genre that had a heyday at one point in metal’s existence. The acceptance that lovers of the genre might surface and borrow shamelessly from previous groundbreakers has allowed me to enjoy what I once did. Bear Mace is just such a band that, every time I spin one of their releases, I’m transported back in time when Massacre, Bolt Thrower, and the like were fresh to my pubescent self. And this year’s Slaves of the Wolf sees Bear Mace punching it up to a new level and delivering crushing riff after crushing riff. I cannot deny that the nasty, relentless attacks of “Slaves of the Wolf,” “The Iceman Cometh,” and the back-to-back “Prophecy” and “Cancerous Winds” keep me coming back time and again. While all Bear Mace is macy, Slaves of the Wolf stands above the others and delivers big bear slaps. Or something like that.

#7. Gaahls Wyrd // Braiding the Stories – Regardless of whether you interpret “wyrd” as “weird” or “word,” both can be applied to Gaahls Wyrd’s sophomore outing, Braiding the Stories. Whether Gaahl’s words hit you harder than the band’s weird approach to atmospheres and influences is completely up to you. Be it captivating, moody numbers like the title track or the balls-to-the-walls “Time and Timeless Timeline,” Braiding the Stories has all a Gaahl fan could ever want. From low whispers to Gaahl’s terrifying shrieks, the moods captured on this record are stronger and far superior to anything the band has ever put together. It’s an unsettling disc that fucks around with track lengths, moods, and everything in between. At one point, you are cruising through a nearly nine-minute-long, atmoblack piece before being pummeled to death for three new minutes. Then, you’re chilling in two minutes of an ethereal nightmare before the hammering of drums comes down on your head like that of Mephorash. It’s a bewildering, disorienting experience that is so pleasing it should be illegal. Gaahl’s days atop the mighty Gorgoroth might be over, but Gaahl ain’t going anywhere yet.

#6. Mors Principium Est // Darkness Invisible – This one might be a surprise to many because Mors Principium Est’s last record, Liberate the Unborn Inhumanity, was not good. This was probably in part because Andy Gillion, the staple of the band since 2011, and the wizard that brought us the impressive guitar work of …And Death Said Live and Dawn of the 5th Era, left the fold. To make matters worse, Gillion dropped one hell of a killer record last year in the form of Exilium. Regardless of whether anyone agrees that Darkness Invisible is a return to form for MPE, it’s indeed far superior to its predecessor, and a record that has been haunting me since its release. Perhaps it’s the mood I’ve been in for the last few months that dragged Darkness Invisible, scratching and screaming, into my year-end list. Or maybe it’s because no matter what MPE releases, I’ll find something to love. For those who skipped it, check out the gorgeous female vocals of “All Life Is Evil” and the heart-wrenching melodeath of tracks like “Of Death” and “Summoning the Dark.”

#5. In the Woods… // Otra – In the Woods… have been around a long time in a lot of different iterations. Be it the coming and going of founders and bandmates, or the careless attitude of genre and sub-genre fuckery, this Norwegian outfit has worked tirelessly to cement both the lineup and the direction the band wants to be identified as in this new era. While 2022’s Diversum began the exploration of blending styles, this year’s Otra did far more to ensure the concrete begins to settle and cure. Tapping into their wide variation of influences, you can capture everything from Borknagar-esque progressions to the black ‘n’ roll character of Carpathian Forest and the low, doomy patterns of Type O Negative and A Vision Bleak. And, somehow, it all works—each song biting on the ass-end of its successor, forcing the music to flow in a pleasing, yet unlikely recordpede. It’s been a while since I felt that In the Woods… might have something worth getting excited about, but this new direction creates palpitations in my olde, black heart.

#4. Green Carnation // A Dark Poem, Part I: The Shores of Melancholia – Green Carnation has been a literal staple in my life for fuck knows how long. And each record has a place, mood, and time that work—regardless if it’s the wild choirs and orchestrations of Journey to the End of the Night, the one-track Light of Day, Day of Darkness, the goth-rock of A Blessing in Disguise, or the acoustic bliss of The Acoustic Verses. This Norwegian outfit has damn-near tried it all, and it works each time. But 2020’s Leaves of Yesteryear was a goddamn epic, and it’s hard to consider anything would be anywhere as strong. Sadly, A Dark Poem, Part I: The Shores of Melancholia is not as strong. Does that make it a bad album? Fuck no. That’s why it’s on my list. Like its predecessor, it’s engulfed in moods and textures that only Green Carnation can do. And with two more parts in sight for what can clearly be described as the beginning of something new, there’s a good chance these gents will be on even more Grier lists.

#3. Ars Moriendi // Leur esprit marche dans les ténèbres – No Grier list is complete without mention of the mighty Ars Moriendi. Though I dropped the ball when it came around for review, that didn’t stop me from spinning this record since its release in June. As with all Ars Moriendi releases, Arsonist continues to push his limits in everything from performances to songwriting and production. And Leur esprit marche dans les ténèbres is no different. Be it the engulfing atmospheres of the two-part “L’abbé de Monte-à-Regret,” the impressive bass work of the powerful “Trouver la fontaine,” or the heart-wrenching piano and clean vocals of “Puisqu’elle est éternelle,” this new record is a captivating display of progressive black metal prowess. Sprinkled throughout with electronic effects and hypnotizing sound bytes, Leur esprit marche dans les ténèbres is a full experience that cannot be disconnected or Spotified. To truly understand it, you must get lost in it.

#2. Abigail Williams // A Void Within Existence – I’ve been an Abigail Williams fan for a long time, but never has one of their albums hit me as hard as A Void Within Existence does. Combining elements of second-wave assaults, atmospheric black metal, and crushing sadness, this new record is perhaps the band’s best. While a couple of songs reach the heights of Song o’ the Year, not a single one is out of place. After the black metal pummeling that is “Life, Disconnected” and “Void Within,” “Talk to Your Sleep” stomps your ass straight into the ground, developing a nice interlude from the norm, and a headbangability that is unique to the band’s songwriting. When the album closes with “No Less than Death,” a clean-vocal performance sends me in a depressive spiral that I still haven’t recovered from. Ken Sorceron and co. have done it again, alternating between peaks and valleys of emotion that disrupt basic brain functions and leave me in an absolute pit of despair.

#1. Havukruunu // Tavastland – I don’t think there’s much more that I can say about Havukruunu that hasn’t been said before. For years, these fantastic Finns have been scratching that itch for old-school Bathory-core that is almost as good as the real fucking thing. And, for years, they’ve nestled gently into my year-end lists but never quite climbed over other incredible albums at the time. This year, things have changed. Tavastland is not only the best album of the year but arguably Havukruunu’s masterpiece. Incorporating every element of their sound into this near-perfect track list, you’ll experience everything from bludgeoning Bathory-meets-Immortal riffs, feel-good Viking plods, melodic passages, and seamless transitions that make repeat listens oh-so soothing. Not to mention, the tight performances and open production will have you gushing over Humö’s fantastic bass work. It’s a monstrous, lively, and energetic album that’s difficult to put down and never disappoints, regardless of whether you’re in the mood for pillaging unsuspecting villages or sitting on the beach with a daquery.

Honorable Mentions

• Lychgate // Precipice – I wish I had given this record more time. Instead, it had to be released in fucking December. Stop doing that! Regardless, this is a weird fucking record with a lot of balls and a lot of aggression that you plebs should listen to.
• Hazzerd // The 3rd Dimension – OK, hear me out. The 3rd Dimension is one of the best thrash records of the year, and you’re a poser if you disagree. With Death Angel-like vocals and Exodus-meets-Slayer riffage, all wrapped up in some impressive technicality, ya can’t go wrong with Hazzerd’s newest outing.
• Cradle of Filth // The Screaming of the Valkyries – I can’t deny it, The Screaming of the Valkyries is fucking good. So good that I can’t stop spinning it. With the help of new female vocal support, a new guitarist, and some killer, punchy tunes, this new record is an embedded thorn in my ass that I can’t locate or remove, no matter how I try.
• Them // Psychedelic Enigma – The story goes on, even when we all thought it was over after the NYC debacle known as Fear City. Looking to milk their characters and lyrical directions to death, Them is back with a new chapter in Psychedelic Enigma. Though it’s not as good as recent releases, it still helps my longing heart continue to beat in hopes of a new King Diamond record.
• Blood Red Throne // Siltskin – This was yet another release I fooked and never wrote up. If you’re a fan, Siltskin is more than worth it, but don’t get your hopes up if it doesn’t meet all your expectations.

Disappointments o’ the Year

• Machine Head – UnatØNed – I dØN’t really knØW what to say abØUt UnatØNed that I haven’t said already. It’s a directiØNless collectiØN ØF “best hits”—that dØN’t hit at all—instead ØF a full-length release. Even if mØSt people have issues with the band’s entire discØG, yØU can’t deny that, at ØNe point, there was passion in Machine Head’s music. NØW, it’s all abØUt thØSe hit pieces that make it ØN year-end lists pulled by iTunes, SpØTify, and yØUr lØCal rØCk radiØ. Which makes me sad because I ØNce held sØMe respect for Flynn, but there are ØNly sØ many disappØIntments ØNe can take befØRe they have nØ chØIce but tØ mØVe ØN.

Songs o’ the Year

• Abigail Williams – “Talk to Your Sleep”

• Abigail Williams – “No Less than Death”

• In the Woods… – “Let Me Sing”

• Gaahls Wyrd – “Time and Timeless Timeline”

The post Dr. A.N. Grier’s Top Ten(ish) of 2025 appeared first on Angry Metal Guy.

Two years ago, I reviewed Mezzrow’s comeback record, Summon Thy Demons—a return that was thirty-three fucking years in the making. Being that they only had one record before their 2023 comeback, I can’t say they’ve left a lasting legacy on the Swedish thrash genre—especially with so many legends that dominated the Swethrash space. With age and wisdom, it appears this quintet is looking to make an impact decades after the heydays of this unique flavor of thrash came and went. The energy, since the release of Summon Thy Demons, must continue to surge in their veins because I’m back to deliver a review of this year’s Embrace the Awakening. While none of their albums are terrible by any means, will the ‘third-times-the-charm’ bring Mezzrow the breakout success they seek?

After unloading three decades of bent-up riffage with their return, Mezzrow has cut the fat with this newest release, reducing the amount of output by fifteen minutes. This move is good for the band because they’ll continue to throw everything they have at a song, but without exhausting their listeners with the vast amount of content. Trimmed to a tight eight tracks, Embrace the Awakening delivers everything from simple thrashers meant to pummel and retreat to others that fill every nook and cranny of living space with all kinds of trinkets. Always with a dark, sinister tone in their songwriting, this new record sees them following familiar territory, combining Bay Area thrash with Swethrash influences like Sodom, Witchery, and At the Gates, to deliver a maelstrom of thrashy licks, melodic choruses, and adventurous solo work. Time to awaken deez nutz.

Embrace the Awakening gets rolling in a classic thrash-metal style with “Architects of the Silent War,” marching through an intro that builds and builds on itself before settling into a solid, sinister groove. When we arrive at the chorus, it ends up being a solid effort with plenty of gang shouts but not a lot of memorability. Which also applies to the new riff change on the back half. While not as strong an opener as the one on the previous album, the rest of the front half of Embrace the Awakening is banging. “Sleeping Cataclysm” opens with some killer blastbeats and a badass lick that successfully transitions through a punchy pre-chorus and soaring, melodic chorus. Even the back-end chugtastic lick kicks some major ass. “Foreshadowing” is a fun little ditty whose foundation is built around an old-school Witchery assault. Throughout, it alternates between slower, melodic sessions, verses that pick up pace as they progress, and an evil fucking chorus with massive gang shouts.

“In Shadows Deep” is another with some Witchery tendencies, but this time in the song’s melodic chorus. Surrounding it is a razor-sharp introduction, chugging verses, and a hefty conclusion. For more diversity, “Symphony of Twisted Souls” tosses in some clean bass and guitars, then it traverses through a couple of headbangable riffs before erupting into the chorus. After completely collapsing on the back half, things get really weird with the lonesome bass and vocal effects that remind me of that weird, mid-career shit Megadeth did because Mustaine realized he sucks at singing. Yet, somehow, through all these strange mood shifts, it pulls itself back together to conclude as a well-rounded song.

Along with some of the songwriting decisions in the opener, that leaves something to be desired, “The Moment to Arise” is a short little piece that is as filler as it gets. From bland riffs to a bland chorus, it’s the most forgettable song on the record. But it’s an easier piece to listen to than “Inside the Burning Twilight,” a boring-as-fuck chorus, and its desire to continue one minute longer than necessary. That said, Embrace the Awakening is a solid outing that continues where the comeback release left off. The first half is stronger than the second, but when the riffs hit, they hit pretty hard. And, when the choruses work, they work well. Otherwise, the album suffers from forgettable moments and filler pieces.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: mezzrow.black | facebook.com/mezzrowsweden
Releases Worldwide: November 14th, 2025

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Fuck you, I know this is late. But it ain’t my fault. We never got the damn promo now that Sabaton is signed to… Better Noise Music…? A label that apparently has as many metal bands on its roster as it does Sabatons. So… one. After releasing their decent 2022 release, The War to End All Wars,¹ these Swedish warmongers are back with a brand new concept they’ve never done before. Just kidding, Legends is still about war and shit. I guess the only thing that you could consider “new” about this record is that it really has no theme, or rhyme or reason, for its existence. While each song continues to be about some historical figure or epic battle they might have been involved in, Legends contains eleven tracks about individuals the band considers “legends”. Standouts include Genghis Khan, Julius Caesar, Napoleon Bonaparte, Joan of Arc, and… Vlad the Impaler? Anyway, this new record is a rollercoaster ride of random times, places, and people, whose only connection to each other is their “legendary” status. But, “theme” aside, is it worth the history lesson?

If nothing else, Legends opens in truly epic Sabaton fashion with God’s warriors, the “Templars.” While there’s nothing new on this opening track you’ve never heard before, it’s a strong track that Crusades its way through memorable riffage and a mighty chorus that sets the tone for the rest of the album. Though some tracks don’t hold up their end of the deal, and keep the momentum going. Case in point, “A Tiger Among Dragons.” This track is about Lü Bu, also known as the “Flying General”. Like the historical figure it’s written about, “A Tiger Among Dragons” is a back-stabbing addition to Legends due to its recycled riffage and boring existence. Being sandwiched between two solid tracks, it’s the textbook definition of a filler track.

As we continue to traverse these varying timelines and characters, we slam into two of the better songs on the record, the back-to-back “Crossing the Rubicon” and “I, Emperor.” Like “Templars,” “Crossing the Rubicon” is classic Sabaton epicness. With a memorable, headbangable riff and a sing-along chorus that’ll please any Sabaton fan. It also lends well to its lyrical content, pushing you to the edge of the Rubicon as Caesar proclaims, “The die is cast.” Or some shit. “I, Emperor” is the band’s tribute to the Steel Druhm-sized Napoleon Bonaparte.² While not quite as punchy as its predecessor, this song has a galloping groove with catchy keys and backing choirs before it arrives at the fun and upbeat chorus. It’s a touch repetitive at times, but it works for a Sabaton song.

Between the filler and recycled riffs, you’re fine throughout; other tracks worth a mention are “Impaler” and “The Cycle of Songs.” While even the band thinks “Impaler” is goofy, as it blends the historical figure of Vlad the Impaler with the fictional one of Dracula, it has some serious stomping energy that stakes a claim on the album. With slow verses that grow as they proceed to the chorus, the climax is well worth the effort with its hookiness and large backing vocals. “The Cycle of Songs” is the longest track on the album, utilizing ascensions and descensions to manipulate the moods from heavy to melodic. It also borrows from “Impaler” by using growing verses to set up the sky-high chorus. It also offers a touch more diversity when compared to the standard verse-chorus-verse-chorus-solo-chorus structure of the other tracks.

Though there are some positive pieces to talk about on Legends, none are top-tier Sabaton. Thankfully, the weaker ones are not their worst. So, I guess that’s a blessing from the “Maid of Steel,” right? In recent years, the band hasn’t been delivering at the level they once were, and you can watch the scores dropping year after year. And, sadly, Legends is a dip from previous releases. The biggest issue this album has is that, when compared to other recent ones that clock in around thirty-five minutes, this bloating thing is too much. Over forty-five minutes, it’s too much Sabaton after being trained by previous releases that less really is moar. As with any Sabaton record, the true fans will adore Legends, but even as a big fan myself, this one is mixed.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: ALAC
Label: Better Noise Music
Websites: sabaton.bandcamp.com | sabaton.net | facebook.com/sabaton
Releases Worldwide: October 17th, 2025

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Many moons ago, I stumbled upon the 2001 Borknagar release, Empiricism, having never heard the band before. While that opened the floodgates that ultimately resulted in my absolute admiration of that band, it was also the album that introduced me to lead vocalist Vintersorg. While many would argue that Borknagar has better albums and better lead vocal contributions from artists like Garm and I.C.S. Vortex. Regardless of preferences and the flavor you seek, Vintersorg’s voice stung me and forced me to explore the man’s solo career. Similar in approach to Borknagar, Vintersorg injects far more of the Viking folkiness than Borky. While both are ultimately progressive, Vintersorg is not afraid to tinker with some strange influences and bizarre keyboard atmospheres. At one point, a song grooves without much deviation, and the next, you haven’t a fucking clue what’s going on. Like any band, not all of it works, but Vintersorg is a solid outfit that, if you’re into the style, never lets you down.

This year brings Vintersorg’s eleventh release since debuting in 1998. Which is fucking wild, making them one of the most prolific of the style. Yet, this is the longest we’ve waited for a new release in the band’s entire existence. After releasing the sequel to their debut record in 2017, things have been quiet on the Vintersorg front. But now they are back with Vattenkrafternas spel sets out to take that same infusion of the Vintersorg of old with the Vintersorg of new that we heard from Till fjälls del II. Which I can’t complain about, considering I love it when the band knocks out some of those nasty black metal licks. Not that they have abandoned those influences in the last decade or so, but it’s a touch more prevalent on Vattenkrafternas spel. But, how far will they go, and how well will it work?

“Efter dis kommer dimma” gets the album going right away, delivering that classic Vintersorg sound I love. Ripping through a simple black metal riff, encased in Vintersorg’s traditional oooo’s and aaaah’s, it charges ahead waiting for the harsh vocals to body slam it. They do for a bit before the gorgeous, clean vocals take over. Toss in some circusy key work and the introduction of some female vocals in the powerful chorus, and we have a fitting opener to this new record. “Malströmsbrus” is another highlight, utilizing a similar pace and vocal performance but with far more of the band’s signature folkiness. Particularly when it comes to Vintersorg’s unique vocal diversity that I can only describe as Viking “yodeling”. Like the opener, “Malströmsbrus” features a memorable chorus that alternates between harsh and clean vocals, but it takes a dark turn in the back half. While the drums and guitars fight to keep the sinister passage alive to the end, they finally succumb to the beauty of the chorus to conclude the track.

While the keys have a presence in these two tracks, they dominate “Ur älv och å” and the closer, “Ödsliga salar.” Orchestral keys introduce the track before the drums and guitars join in the fun. After folking things up, the band transitions into a tasty riff with big fucking vocals that continue to rise until the chorus soars. But like “Malströmsbrus,” dark clouds form as the song drags the listener through fever dreams before soaring to the clouds and “yodeling” the hell out of your soul. But the closer takes it all to its limits. The orchestral parts are almost too big at times, creating an odd, overpowering effect on the rest of the instrumentation. But it still works, unlike the song’s predecessor, “Skyrök,” which goes on far too long, with orchestration that is almost comical at times. Yet, this song still tosses in everything but the kitchen sink, overlaying clean vocals with harsh and guttural barks, supporting Viking chants, and, for better or worse, a guitar/keyboard solo duel.

Like “Skyrök,” “Från djupet dunstar tiden” is another that tries too hard. Instead of a bunch of keys and orchestration that becomes overwhelming, it’s the interpretation of the sleek piano piece by the drums and guitars that makes things weird. Toss in some circusy keys and Vintersorg’s odd vocal approach, and the song’s back half loses my interest. But these issues don’t cripple the album, and the overall flow is pleasing. And, unlike some of the complaints on this site about more recent Vintersorg records, you will not see a DR4 for Vattenkrafternas spel. While Hammerheart Records refuses to send a promo with a higher bit rate, at least the DR7 helps a bit. Specifically, when it comes to the rumbling bass in the closer. In the end, Vattenkrafternas spel is another solid outing from the band, and I’m glad to see them back after eight long years.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 192 kb/s mp3
Label: Hammerheart Records
Websites: vintersorg.bandcamp.com¹ | facebook.com/vintersorganic
Releases Worldwide: September 26th, 2025

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Not gonna lie, I did a double-take when I saw that Green Carnation’s fantastic Leaves of Yesteryear came out five fucking years ago. And what a different time that was. We were balls-deep in Covid hell, I was living in a 600 square foot apartment in one of the hottest shit holes on earth, and I had a completely different job than I do now. But I didn’t mind any of it because I had my beloved Leaves of Yesteryear, which I still talk to staff about regularly. They love it. Many fans considered Green Carnation’s 2020 release a return to form for the band, and A Dark Poem Part I: The Shores of Melancholia continues where its predecessor left off. But it also incorporates everything we’ve ever known of the band’s catalog. Returning to the days of Light of Day, Day of Darkness, the band sets out to tell us a new story. Instead of accomplishing it in a single, one-hour song, The Shores of Melancholia marks Part I of a three-part series. This is one hell of an undertaking, but I’m here for it.

The sole purpose of The Shores of Melancholia is to set the tone of the trilogy, using its lyrical content and progressive nature to lure you in without answering any questions. The answers will come later. Throughout this first part of the trilogy, you’ll explore grief and inner turmoil, all the while trying to decide if you should headbang or hang your head in utter despair. More than the previous record, there are tracks here that are a total mind-fuck, transitioning endlessly between grooving riffs, melodic passages, and sadboi atmospheres. This does give a sense of return to Light of Day, Day of Darkness, with its numerous riff changes and progressive elements. But that’s where it ends. This is a different Green Carnation these days. A band that honors its legacy but refuses to become stale.

For example, the album opens with two groovy numbers that take those elements from their rocking 2003 release, A Blessing in Disguise, and shove loads of details into them. “As Silence Took You” begins the album with a dark, slow-moving introduction that evolves into an effect-laden blanket of bassy licks and soft vocals. When the chorus arrives, the true strength of Kjetil Nordhus’ voice rings in the clouds. After following this pattern for a while, it evolves into an attractive chug that amplifies the energy and takes this sad song into even darker territories. Lyrically, this song has hit me hard lately, being that I lost my father suddenly a couple of weeks ago. Like the lyrics state, I never got to say goodbye as silence took you. But as far as groovers go, the follow-up track takes the urinal cake. With various slapping riffs that get your noggin’ rockin’, the chorus stands out for its very folky attitude. It’s a perfect blend and a song I find myself repeating constantly.

While the two opening pieces get the juices going, the two that close the album take you down into a dark place. The atmospheres that introduce the title track are massive, sucking you into melancholic bliss. It also has the biggest, most beautiful chorus of the record. The best part of the song is the hauntingly gorgeous, yet rather simple guitar lead that resonates throughout. While “The Shores of Melancholia” might be the strongest of the album, the closer, “Too Close to the Flame,” is the most progressive. This epic number is a rollercoaster ride of emotions—at one point sinister, at other times uplifting and foot-tappable. It also has plenty of those patented chugs Green Carnation is so good at utilizing when introducing new builds. But I can’t end this review without talking about the album’s literal black sheep. We haven’t heard black metal rasps in Green Carnation since Nattefrost’s contribution on Light of Day, Day of Darkness, but you are not prepared for “The Slave That You Are.” This song uses Enslaved’s Grutle Kjellson on vocals, while, sometimes awkwardly, the band fuses old-school black metal with progressive sound. While not uncommon for Enslaved, the progressive elements of Green Carnation make it a wild ride.

The only track that doesn’t grab me as strongly as the others is “Me, My Enemy.” Lyrically, it does a great job fitting the theme. But it’s ballady pace with spacey Pink Floydish effects takes me out of the mood a bit. Though it’s a shocker to go from this track to the aforementioned “The Slave That You Are.” It’s difficult to measure the greatness of an album that is only one part of a trilogy without knowing the final result. But, as this album stands, Leaves of Yesteryear is a stronger record as a whole. But, again, the day all the pieces come into place, this trilogy has the potential of being the most adventurous endeavor the band has ever taken. There are a lot of surprises on this new album, which I appreciate because if you look at the band’s catalog, no two records are the same. Based on this record alone, I’m quite excited to see how this plays out.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway
Releases Worldwide: September 5th, 2025

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Two years ago, I grabbed Electrocutioner’s False Idols solely because their one-pager told me not to. And I enjoyed every minute of its straightforward approach to old-school thrash. Even scoring it higher than one would ever dare for something that’s been done countless times over. But there was just something about its riff-machine qualities that hooked me so deeply. Fast forward, and I’ve got my grubby sausage fingers on their sophomore outing, Harbinger. And, once again, you’ll find no gimmicks here. Just beer-swilling thrash in the realm of Slayer, Testament, and Whiplash. The only difference is that this threesome (with gang vocal support from some friends) is signed to a label. Sure, it’s a smaller Canadian label, but these Strong Islanders ain’t aboot to let that bother them.

Like the band’s debut, Harbinger is a relentless onslaught that rarely sees drawn-out introductions throughout its tight thirty-six-minute runtime. The only moments of calm are delivered in the same way as before: using weird-ass instrumentals that only Tangerine Orange would enjoy. Though completely pointless, it appears to be their jam. Outside of that, each song is tight and effective, not a one of them exceeding five minutes in length. You’ll find everything from blistering-fast speed licks, chonky thrash charges, and mid-paced stompers. Mix in some rough vocals, chaotic gang shouts, and rough production, and you might as well be listening to it on cassette in your dad’s beat-up pickup. But will the outcome be the same, better, or worse than its predecessor?

Unlike False Idols, no spacey instrumental coaxes us into the record. “Doomsday Device” rips your scrotum on the first note and doesn’t let go until the gangrene settles in. This short, Slayerish ditty even sports a classic Araya scream that forms goosebumps on my pecker. Like any good thrash track, it breaks down in the middle, restarting the frenzy, charging faster and faster as the gang shouts tear around you. The follow-up track, “Lightning Sacrifice,” keeps the momentum going, delivering a killer groove and addictive chorus that sticks hard. While there’s some variation in the songwriting throughout, the one track that stands out for being straightforward and restrained is “Frozen File.” With its intricate guitar work and pleasing chorus, it uses its strength in quality construction instead of dropping breakdowns and screaming guitar solos.

Other songs worth exploring are the back-half beauties, “The Chariot,” “Azazel,” and “Seven Seals of Koresh.” The first is a short piece featuring some of the album’s more vicious guitar and vocal performances. It uses a speedy lick to build up to the gangy chorus before ending with a slick, headbangable conclusion. “Azazel” is a flailing storm of guitars with a pavement-splitting chorus. Though it includes a ridiculously stupid spoken-word passage, this piece is one of the heavier tracks on Harbinger. “Seven Seals of Koresh” backs off a bit, opening with a mid-paced thrash lick. But then, all hell breaks loose, charging toward the chorus like Steel coming after me for drinking all his bourbon. As the intensity increases, the band picks up the pace, charging faster and harder than ever before.

Outside of the useless instrumentals, the two songs that have the biggest issues are “End of Days” and the title track. The first is that it’s so short, it doesn’t seem to know where to go. The only thing going for it is its slithering Slayer vibes. The title track is frustrating because the chorus is dreadful. It has some nifty riff changes that help, but when the chorus comes back around, I want to skip it. And, the fact that the instrumental “Vision II” closes the album instead of “Seven Seals of Koresh” is a mistake. There’s also an issue with the mix. False Idols was just dynamic enough that the bass had some presence. With Harbinger, the bass is buried far too much for my taste. These issues put this new release a notch lower than its predecessor, but Harbinger is hella fun and will keep your attention if you liked the band’s debut.

Rating: 3.0/5.0
DR: Stream | Format Reviewed: Stream Deez Nutz
Label: CDN Records
Websites: electrocutionerthrash.bandcamp.com | facebook.com/electrocutioner
Releases Worldwide: September 5th, 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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