Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.

Rating: 3.5/5.0²

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Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

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While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL is still ethereal and heavy with skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
Releases Worldwide: January 30th, 2026

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Weft integrates the violin in a variety of clever ways that will sound comfortably familiar to fans of folk/black metal. The obvious comparison is Panopticon, particularly in the sublime acoustic guitar and violin pairing of the intro track “Leaves.” It also dances with the electric guitar in a wild, rugged manner like unto Windfaerer and Saor (“The Hull”). At the same time, Weft doesn’t allow the violin to become too overwhelming or dominant. Rather than solely relying on the customary trem-picking, the fierce guitar riffs and chord progressions of The Splintered Oar often prefer to wander into progressive death metal territory. Another surprising musical influence is Americana, featured briefly in “The Hull” and prominently in “Dream of Oaks.”

Once things get going, the bulk of The Splintered Oar is quite exhilarating. “False Kingdoms,” the first full song, opens with a great buildup, facilitated by Austin Lunn’s purposeful tom rhythms. After this point, the intensity ebbs and flows, but rarely lets up completely. The demonic violin lines and frenzied shrieks in “Red Dawn” cut through the listener’s defenses like wind chill. Anderson’s deep growls are usually effective as well, though they sometimes lack force and come across as more of a croak. Andrea Morgan’s guest vocals in “The Hull” help compensate for this, joining with the soothing strings in a manner reminiscent of Dzö-nga, which is a very good thing.

What holds The Splintered Oar back the most is a shaky beginning and ending. “Leaves” would have been a much more effective intro if it hadn’t repeated itself and dragged out its runtime to 5 minutes. On the other hand, 12-minute closer “Dream of Oaks” struggles to remain coherent. The entire first half is dreamy Americana, which later morphs into sleek Opethian prog and then death/doom before finally resuming Weft’s signature violin-driven black metal. These individual components are enjoyable enough on their own, but they become confusing when considered together. “Dream of Oaks” might have been an epic conclusion if it had the same degree of cohesion between The Splintered Oar’s disparate musical influences that the preceding tracks display.

Weft is a rare example of what is possible when a violinist creates black metal. Charlie Anderson’s compositional versatility is immediately obvious. While it doesn’t quite stick the landing—or the launch—The Splintered Oar’s midsection is very promising and even goosebump-inducing at times. If the less conventional musical genres can be consistently integrated in a potential sophomore record, Weft will be a force of nature to behold.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bindrune Recordings
Websites: weftmusic.bandcamp.com | instagram.com/weft_music
Releases Worldwide: December 19th, 2025

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hear is both more immediate and less straightforward than its predecessor. Temptress has livened up the laid-back stoner rock of see with copious amounts of grunge. Kelsey Wilson’s guitar lines are equally likely to slip into a hypnotic, looping groove as they are to burst into peppy riffs. The passages occasionally slow to a doomy plod or bear a passing resemblance to the psychedelic side of Messa. Regardless of style, much of the repetitive songwriting has been tightened across the board, making hear’s average track length and total runtime noticeably shorter.

hear is a concerted group effort that respects each member’s individuality. All three members share mic duty, which affords variety rather than synergy because most songs have only one vocalist (with the exception of some backing vocals during the chorus of “Narrows”). The ethereal female croons² in “Edge” and “Downfall” tend to fit the music best; however, the singing elsewhere can sound a bit flat (“Now or Never,” “Narrows”), not quite matching the passion with which they play their respective instruments. Andi Cuba’s drumming has an endearing, quirky character—I like that intro track “Into” uses only tom and bass drums, although there are small annoyances such as the overuse of syncopation (“Edge”) or snare drum fills (“Downfall”). Christian Wright takes the lead with bass guitar in outro track “Out of,” which I hope to hear more of in the future.

Temptress is becoming adept at writing a cohesive record that keeps a live setting in mind. The first half is much more energetic, giving hear the initial impression of being front-loaded, but the back half contains additional nuance upon closer listening. “Be Still” and “Downfall” experiment with tempo shifts to overall success, save for the 30 seconds or so of dead time at the end of each track. The bookends tie hear together well as a package, with a crisp transition from “Into” to “Narrows” and “Out of” complementing the introduction neatly. The one song that I struggle with as a whole is “Now or Never” due to the deadpan vocals and repetitive lyrics, but the instruments are spirited enough that I can imagine that this would work better when performed live.

Temptress comes across as a tight-knit group that retains a refreshing “no expectations” attitude from their early jamming days. The stoner doom and grunge work very well together to produce plenty of enjoyable licks and riffs, although the vocals are something of a mixed bag. Temptress’ growth between see and hear is impressive. I’d like to see them continue to refine their more subtle, contemplative songwriting approach in addition to their more straightforward, bouncy side. All in all, what I’ve heard so far makes me eager to touch Temptress’ next album.

Rating: 3.0/5.0
DR: 3 | Format Reviewed: 320 kbps mp3
Label: Blues Funeral Recordings
Websites: temptressofficial.bandcamp.com | temptressofficial.com | facebook.com/temptressdfw
Releases Worldwide: January 23rd, 2026

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We tend to use the word cavernous a lot when describing death-doom, but the very compositions of Dreaming Delusion evoke an actual cave. This is particularly true of the guitarwork. Solitary notes and arpeggios trickle like drips of water from stalactites (“An Eternity of Complete Acquiescence”). The jagged death-doom surfaces melt into melodies that are smooth as the glassy surface of a subterranean lake (“Luminary Dissolution”). The lush yet explosive guitar solo midway through “Dreaming Delusion” hits like a sudden burst of sunlight after a rockfall, reminiscent of the fretwork in Worm’s Foreverglade. The sum total could very well be a sibling of Dream Unending’s dreamy despondency.

Yet, unlike Dream Unending, Gloombound seeks to crush the listener’s spirits just as much as their eardrums. Dreaming Delusion tantalizingly oscillates between despair and hope. The two vocalists, Mina Halvorsen and Emma Theneus Sønstebø, form a twisted, echoing call and response before the music slips into a psychedelic pool of keys and fretless bass (“At the Precipice to Longinquity”). These quieter, contemplative moments are crucial beyond merely adding beauty. Far from a meaningless acoustic guitar interlude, “Salvation” is instead a welcome respite from the psychic assault, for which the listener is punished more intensely by the rattling riffs and growls of “Luminary Dissolution.” Over the course of 44 minutes, the hope for escape gradually drowns, giving way to anguish and finally blossoming into serene acceptance during the final notes of concluding track “Dreaming Delusion.”

Dreaming Delusion is as psychological as it is emotive. It truly feels like the mental unraveling of a soul trapped in a metaphorical cave. Every element of the instrumentation, from the guitar structure to the haunting organs to the fretless bass, combine to create a rich sound that is somehow both full and cavernous. The vocals are both oppressive and harrowing, with lots of variation and expressiveness. I’m impressed by how mature Gloombound sounds in both songwriting and performance on their first attempt. What do you do when your mind betrays you? Dreaming Delusion offers no answers, only catharsis.

Tracks to Check Out: “An Eternity of Complete Acquiescence,” “Dreaming Delusion”

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Halocraft’s “music first, atmosphere second” approach serves them well. It’s hard not to let oneself be borne away by the dreamy, leisurely guitar lines, which bear a fair resemblance to God Is an Astronaut or Black Narcissus. The Sky Will Remember is much closer to the cheerful, upbeat nature of Halocraft’s prior two full-lengths, with tons of tunes that are sticky-sweet but somehow never cloying. On the other hand, To Leave a Single Wolf Alive is a significant deviation from Halocraft’s usual style. Aside from its noticeably darker tone, it’s less reliant on hooks and, therefore, its slower burn took me a little longer to appreciate. Careful attention to both records will reveal subtle, whimsical bass counterpoints to the twin guitars.

The real strength of Halocraft’s songwriting is favoring clearly defined melodies over the sprawling free-form tendencies common in the post-rock genre. The songs loosely adhere to the tried and true pop structure, with verses and choruses that just happen to be instrumental in this case. I am, personally, partial toward The Sky Will Remember. Tracks such as “A Headful of Dreams,” “And in That Light, I Saw You,” and “Particle” never fail to lift my spirits. To Leave a Single Wolf Alive is there when I’m in the mood for something more melancholic but equally pleasant. While it does lean more heavily on repetition, there are moments that stand out, such as the slithering grooves of “And the Weak Suffer What They Must” and the faint goth-rock shades of “They Rest in Flames.” Though very different from one another, both albums are versatile enough to excel in the foreground and the background.

After spending nearly a year with both, I can confidently say that Halocraft has accomplished the difficult and paradoxical task of making two opposite yet complementary records. The Sky Will Remember and To Leave a Single Wolf Alive are a refreshing reversal of many instrumental post-rock norms, like meandering songwriting and lack of meaningful melodies. They are so easy to listen to and enjoy, no matter what mood I find myself in. I may connect with The Sky Will Remember more, but I appreciate Halocraft’s willingness and capability to expand their sound into darker avenues on To Leave a Single Wolf Alive. My hope is that on their next record they can take both of these disparate strands and weave them together. For now, though, you can’t go wrong with either choice.

Tracks to Check Out (The Sky Will Remember): “A Headful of Dreams,” “And in That Light, I Saw You”

Tracks to Check Out (To Leave a Single Wolf Alive): “And the Weak Suffer What They Must,” “They Rest in Flames”

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One way that Asira describes their music is “gold-tinged black metal,”¹ but I would be more inclined to call it black-tinged gold metal. As Ink in Water is resplendent in like manner to Deadly Carnage’s Endless Blue, both of which are buoyed by similarly soaring vocals. Jack Reynolds has some of the best cleans in the business, harmonizing neatly with Martin and Lydia Williams when the occasion calls for it. The smooth, invigorating guitars have carried over from Efference, particularly during the more tranquil moments, but most vestiges of blackgaze have evaporated. The remaining black metal influence on As Ink in Water comes when the vocals sometimes switch to sharp rasps. In less scrupulous hands, these opposites could have easily clashed unpleasantly.

Luckily, Asira has an incredibly strong mastery of the art of contrast. The verses of “Cauterise” are commanded by wild blast beats and furious growls, yet they willingly give way to the glowing, clean-sung choruses like the night yielding to the rising sun. Speaking of which, “In Sunrise” is, in my estimation, the crown jewel of As Ink in Water. While mainly consisting of bright guitar arpeggios and infectious melodies, the juxtaposition of Reynolds’ snarls and Lydia Williams’ soprano at the midpoint is chill-inducing. This polarity also exists between the individual songs; the fact that the aggression of “Cauterise” and the tenderness of “Clarity” can sound like they belong on the same record is a testament to Asira’s skill as songwriters.

It’s clear that Asira put a great deal of thought and care into the compositions of As Ink in Water. El Cuervo’s wish for less repetition and more variety in the quieter parts of Efference has been granted. No matter the intensity, the songs never stall or stop moving forward. Even those that appear unassuming on the surface manifest important details upon closer listening, such as the delicate bass grooves in “Clarity” or the deliberate arrangement of backing vocals in “Still.” These songs might require a bit more patience than the others, but they are just as important to the overall canvas of color. The only tracks that don’t add much are the twin interludes, “Descent” and “Ascent,” though at just one minute apiece, this is easy to forgive.

Asira has fashioned a truly unique and heartwarming work of art that defies easy description. As the title of As Ink in Water implies, the light and dark elements may seem disparate at first, but over time, they mix perfectly together. Asira set out to portray the universal human experiences of “anxiety, grief, fury, compassion, and healing,” all of which can easily be both heard and felt. I find myself emotionally invested in As Ink in Water to the point where multiple 11-minute songs seem to vanish in the blink of an eye. Although this year is getting late, I feel confident that this special record will stick with me into and beyond the next.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: PCM
Label: Self-Release
Websites: asira.bandcamp.com | asira-band.com | facebook.com/asirauk
Releases Worldwide: November 14th, 2025

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Similar to The Reticent’s more recent output, the prevailing style of please is slick and smooth modern prog metal with occasional death and black metal tinges. Hathcock’s singing voice is as crisp and clear as ever, and he accentuates the emotional impact with well-placed growls and screams. The effortless melding of light and heavy frequently reminds me of Opeth’s The Last Will and Testament from last year. The key difference, however, is that The Reticent does not shy away from placing their inner demons on full display. This is best exemplified by the unexpected foray into dissonant death metal territory on “The Bed of Wasps (Those Consumed with Panic)”, which is unquestionably the heaviest material The Reticent has written to date (even more so than “Stage 5: The Nightmare” from The Oubliette).

The Reticent expertly employs many musical methods throughout please to reflect the myriad forms of mental illness. James Nelson’s and Paul McBride’s cascading guitar and bass lines in “The Night River (Those Who Can’t Rest),” along with Hathcock’s flowing tom rolls, are like the intricate web of thoughts that an insomniac’s mind might spin. The aforementioned dissonant flurry of “The Bed of Wasps (Those Consumed with Panic)” is the sonic equivalent of an anxiety attack, with constant time signature changes and tormented vocals. “The Riptide (Those Without Hope)” floats by at a despondent, languid pace, the singing soaked with depressive acceptance.¹ It’s ironic and heartbreaking that “The Chance (Those Who Let Go)” is the most hopeful and uplifting in tone, given that it’s about an individual resolved to suicide. The previously calm drumming becomes desperate and frantic at the very end before abruptly cutting off as if a trigger had been pulled.

Although please is musically as good or better than The Reticent’s usual standards, it’s impaired by a greater dependence on narration. “Diagnosis 1” and “Diagnosis 2” are irksome interruptions that take up five minutes in total, describing the symptoms of anxiety and major depressive disorder. I can see the justification for “Intake,” which briefly lays out some suicide statistics and leads into the first proper song, and “Discharge,” which reflects on the aftermath of suicide via a recording of a woman whose husband took his own life, but both tracks should have been shortened. To make matters worse, some of the proper songs contain their own narrative segments as well. please is at its most powerful when the simple yet piercing lyrics² are allowed to speak for themselves³ as opposed to shoehorning clinical informative tidbits.

please is not exactly a fun experience, but its message is an important one. It’s an unequivocal declaration that mental illness is very real, millions of people live with it, and many ultimately make the horrific choice not to. The Reticent does an excellent job of bringing this issue to life with thoughtfully crafted music. If the heavy-handed narrative elements had been pared back in exchange for one more quality song, the score below would easily have been half a point higher or more. Notwithstanding, please is a crucial reminder that we don’t know what unseen struggles others might experience. Always be kind; it can make all the difference.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Generation Prog Records
Websites: Bandcamp⁴ | Official | Facebook
Releases Worldwide: November 13th, 2025

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Waldgeflüster

That may not be entirely accurate because, despite being born from the same place, Knochengesänge I and II grew into very different beasts. I will sound much more familiar to those who know Waldgeflüster’s prior work. It shares a deep kinship with the folksy trem-picking of Panopticon, not to mention that both groups put out double albums this year. Austin and Bekah Lunn even directly contributed their musical and photographic talents to Knochengesänge. II is a patchwork of different musical styles. It ranges from acoustic folk (“Das Klagelied der Krähen”) to overcast post-rock (“Frankfurt, 19. März,” “The Little King and His Architect”) to semi-upbeat alt-rock (“A Crusade in the Dark”). Both records conclude with different renditions of the traditional Scottish song “The Parting Glass.”

Knochengesänge I sees Waldgeflüster attempting to escape the shadow of similar, more influential atmospheric black metal groups. It’s telling that, despite the band’s longevity, no AMG writer to date has ever tagged Waldgeflüster in another band’s review as a reference point. Indeed, much of I passes uneventfully in a Harakiri for the Sky haze, but I tend to like it best when Waldgeflüster adds their own folksy flavor. The melodies of “Der kleinste König und sein Architekt” are especially crisp, and the song really comes into its own at the end when it transitions to a warm folk section with hearty clean singing and subtle violin strings. Charlie Anderson’s violin appears frequently, adding a great deal of poignancy. “Knochengesang” and “Bamberg, 20. Juni” are other notable examples of Waldgeflüster using strings to elevate their sound.

Since this is a double album, you already know what the primary flaw of Knochengesänge is—bloat. However, the problem runs deeper than mere minute count. Even if each track were halved in length, many would still have an uphill battle maintaining my attention. This is the case with both parts but particularly true of II, most of which seemed to drag on for an eternity. The greatest exception is “Singing of Bones” almost at the very end of II, a pleasant folk number with acoustic guitar and violin working in tandem. Even though II is all over the place stylistically, most of it isn’t so wildly different from I that it couldn’t have conceivably been integrated. I even tried reordering the tracks into each album’s corresponding pairs and found that many covered each other’s weaknesses decently well (again, except for bloat), which supports my suspicion that these two mediocre albums could have been distilled into one really good album.

Knochengesänge began with an interesting double album premise that, sadly, yielded little of note during its 109-minute combined runtime. I and II may be highly symmetrical but they are only mildly codependent. I can’t recommend listening to them back to back and, in fact, II can be safely disregarded by most listeners. Fans of the Panopticon aesthetic should find enough to enjoy in I, but it may fall a bit flat for everyone else, especially given that newcomers like Autrest are offering a much more potent take on this type of atmoblack. A frustrating refusal to self-edit is what holds both records back the most; nearly every track is 8 minutes or longer, and few fully justify their length. I respect Waldgeflüster’s desire to explore new musical avenues and I’ll keep an eye on them in the future, but I don’t expect to return much to Knochengesänge.

Rating: I: 2.5/5.0 | II: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: blackmetalwaldgefluester.bandcamp.com | waldgefluester.com | facebook.com/blackmetalwaldgefluester
Releases Worldwide: November 7th, 2025

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