{"id":227879,"date":"2025-12-29T19:07:37","date_gmt":"2025-12-29T18:07:37","guid":{"rendered":"https:\/\/www.angrymetalguy.com\/?p=227879"},"modified":"2025-12-29T19:07:37","modified_gmt":"2025-12-29T18:07:37","slug":"saunders-and-dear-hollows-top-tenish-of-2025","status":"publish","type":"post","link":"https:\/\/www.angrymetalguy.com\/saunders-and-dear-hollows-top-tenish-of-2025\/","title":{"rendered":"Saunders and Dear Hollow’s Top Ten(ish) of 2025"},"content":{"rendered":"

Saunders<\/strong><\/span><\/h2>\n

\"\"Yes, folks and loyal AMG readers and devotees, another year is nearly done and dusted. As per tradition, the time has come to share reflections and recommendations from another eventful year. Personally, 2025 threw down some rough moments and life challenges, navigating a spike in anxiety-driven mental and physical health concerns. Previously, I have mentioned how much AMG has grounded me over the years, keeping my focus and motivation on track when other parts of life navigate turbulence, stress, or uncertainty. This has proven especially pivotal this year and highlights the importance of contributing in some small way to this amazing blog and how much it means to me.<\/p>\n

Highlights… After a few lean years post-pandemic on the gig front, as an avid concertgoer, 2025 proved productive for getting my mojo back for live music. I caught Karnivool<\/strong> in action for the first time in over a decade, ripping through infectious prog metal anthems and impressive new jams from their highly anticipated album set to drop in early 2026. An unexpected gig was a solo show in my hometown from none other than former Fear Factory<\/strong> legend Burton C Bell<\/strong>, performing in a local dive venue. Ploughing through career classics and some solo material, the setlist offered up gems like “Drive Boy Shooting,” “Scapegoat,” “Scumgrief,” and “Replica.” It was a nostalgic joy.<\/p>\n

Meanwhile, after years of stubbornly jaded neglect, I finally bit the bullet and witnessed Metallica<\/strong> live. Probably a couple of decades too late, however, as an impressionable young’un raised on early Metallica<\/strong>, it was a cool experience to finally see the aging juggernaut in a stadium setting that will remain in the memory bank for years to come. A couple of days later, I once again caught the mighty Opeth<\/strong> at the iconic Sydney Opera House with quality support from Caligula’s Horse<\/strong>, before rounding out the year by finally seeing Dying Fetus<\/strong> live in an extra beefy triple bill including Ashen<\/strong> and 200 Stab Wounds<\/strong>. Good times indeed….<\/p>\n

Big thanks to everyone for keeping this mighty blog running and cogs turning. From the ever-growing readership and awesome AMG community, through the entire, recently beefed-up writing crew, inspiring colleagues and all-around awesome people, to the higher powers (Steel Druhm<\/strong><\/span>, Angry Metal Guy<\/strong><\/span>, Sentynel<\/strong><\/span>, Doc Grier<\/strong>,<\/span> <\/span>and all the other editors) for their extra behind-the-scenes work whipping us into line. Cheers all to a safe, happy, and healthy 2026.<\/p>\n

\"\"#ish: Green Carnation<\/strong> \/\/ A Dark Poem Part I: The Shores of Melancholia<\/a> – <\/em>After being mesmerized by Green Carnation<\/strong>’s timeless opus Light of Day, Day of Darkness<\/em> many years ago, I never really expanded my listening beyond that widely regarded masterpiece. Then comeback album Leaves of Yesteryear<\/em> dropped in 2020 and turned me from a casual listener into an avid fan of their work. A Dark Poem Part I: The Shores of Melancholia <\/i>signals a long-awaited return and the first part of a planned trilogy from the seasoned Norwegian veterans of classy, mood-driven progressive metal. Admittedly, this album didn’t reach the dizzying heights or quite gain the traction of its predecessor. Nor does it disappoint, adding another finely crafted chapter in Green Carnation<\/strong>’s enduring career, while building excitement for the two albums to complete the trilogy. Meticulously crafted and chock full of emotive, silky, and delightfully catchy gems, A Dark Poem Part I: The Shores of Melancholia <\/i>is another top-shelf prog metal jam.<\/p>\n

\"\"#10. Caustic Wound<\/strong> \/\/ Grinding Mechanism of Torment<\/em><\/a> – Back in 2020, Seattle’s Caustic Wound<\/strong> emerged from the muck and unleashed a gnarly ball of unvarnished deathgrind rage courtesy of debut, Death Posture<\/em>. Due to the endearing old school charms and brawling, stomping attack, Death Posture<\/em> left a lasting impression, amping anticipation for their long-awaited return on sophomore slab, Grinding Mechanism of Torment<\/em>. Though a little less refined and losing a smidgen of the debut’s grimy charm, Caustic Wound<\/strong> otherwise pounded out wickedly crunchy, buzzsawing deathgrind with violent glee, infectiousness, and subtle variety to keep you coming back for more. The album’s tight construction and propulsive performances deftly harness the controlled chaos and blasty, groove-laced fun, as the likes of “Drone Terror,” “Advanced Killing Methods,” and “Blood Battery” attest.<\/p>\n

\"\"#9. Phantom Spell<\/strong> \/\/ Heather & Hearth<\/em><\/a> – One of the purest and nostalgia-driven prog releases of 2025, the sophomore album from Seven Sisters<\/strong> singer\/guitarist Kyle McNeill was a progtastic delight, wielding old-timey, ’70s prog feels with a transportive, fantastical flair. Phantom Spell<\/strong> crafted a timeless, epic yet remarkably fresh experience, despite the obvious devotion to progressive rock legends and eras of the past. Dueling guitar leads, rollicking organ, and tight, expressive rhythms shine across a superbly performed and produced opus. For all the musical smarts, clever progressive arrangements, and technical showmanship, McNeill’s songwriting and powerful vocals are spot on, resulting in a nuanced though hugely hooky and focused collection, infused with folk and classic heavy metal elements, complementing the classic progressive rock core. Bookended by two spectacular epics (‘The Autumn Citadel” and stunning, heart-wrenching melodies of the closing title track), Heather & Hearth<\/em> is equally compelling in its more compact, punchy forms (“‘Evil Hand,” “Siren Song”).<\/p>\n

\"\"#8. Barren Path<\/strong> \/\/ Grieving<\/em><\/a> – Grind delivered big time in 2025, with numerous high-quality releases to absorb. None quite delivered the hammer blow impact of the debut LP from Barren Path<\/strong>, featuring Gridlink<\/strong> alumni, including grind shredding extraordinaire Takafumi Matsubara. It’s amazing what can be achieved in a manic thirteen minutes of calculated mayhem and precision deathgrind madness. Barren Path<\/strong> shares traits with Gridlink<\/strong>’s razor-sharp precision and abrasive intensity; however, it refuses to be pigeonholed or cast into the shadows of the Gridlink<\/strong> legacy. Beefy production, coupled with a prominent death metal influence, riffs to burn, gripping performances, and techy edge, Grieving<\/em> loudly announced Barren Path<\/strong> as the next innovative heavy hitter to take the grind scene by storm. All too brief if utterly compelling, I’m excited to see what this elite line-up can cook up next as they set about creating their own unmatched legacy.<\/p>\n

\"\"#7. Changeling<\/strong> \/\/ Changeling<\/em> <\/a>– For the second time in my 2025 top ten, an album surpasses the hour-length mark, often questionable territory as far as optimal album length. The prolific Tom Geldschl\u00e4ger (aka Fountainhead) hired an army of high-profile musicians and contributors to bring his elaborate progressive death metal vision to vibrant life with an overstuffed and incredibly entertaining, wildly ambitious debut opus. Amongst the core lineup, Morean (Alkaloid<\/strong>, Dark Fortress)<\/strong> lends his unique vocals, Virvum<\/strong>’s Arran McSporran features on fretless bass, and powerhouse Mike Keller (ex-Fear Factory<\/strong>, Raven<\/strong>, Malignancy<\/strong>) mans the kit, while a stack of instruments, choirs, and guest musicians add further dimensions and intricacies to the color palette. Changeling<\/strong> is guilty of overreaching on occasions, and the whole thing is an overstimulating example of excess. And though far from perfect, Changeling<\/em> is nevertheless an astonishingly complex, progressive, and technical marvel. Its bombastic, adventurous gallop, slick songcraft, earwormy hook,s and otherworldly melodies conjure up a hugely inventive and endlessly fun platter.<\/p>\n

\"\"#6. Turian<\/strong> \/\/ Blood Quantum Blues<\/em> – Generally, I tread carefully from anything core-related in the realms of hardcore, metalcore, and deathcore. I am not opposed to each style, but usually it takes a certain something to win me over. Another winning recommendation from the flippered one, Blood Quantum Blues<\/em>, the third LP from Seattle metallic hardcore merchants Turian<\/strong>, found the band toying and upending their sound in wonderfully creative and ambitious fashion. Like other genre-busting albums, such as The Shape of Punk to Come<\/em> and Miss Machine<\/em>, Turian<\/strong> fuck with the conventions of their metallic hardcore. Shattering boundaries by lacing their signature sound with sharply integrated elements of rock, electronics, sludge, and grind, whipped into a grooving, raw smackdown and addictive delight, Turian<\/strong> pulls no punches and pushes their songwriting creativity to the limit. The line-up nails the newfound songwriting versatility through tight, explosive performances, topped by the raw intensity and charismatic vocals of Vern Metztli-Moon, who channels deeply personal, trauma-informed reflections of her Native American heritage, with vigor and rage.<\/p>\n

\"\"#5. Retromorphosis<\/strong> \/\/ Psalmus Mortis<\/em> <\/a>– Carrying on the timeless legacy of legendary Swedish tech death wrecking crew Spawn of Possession<\/strong>, Retromorphosis<\/strong> emerged featuring the bulk of the SoP<\/strong> line-up and a rejuvenated sound, both familiar and energized enough to craft a new chapter of tech death excellence. Herein lies the key to the album’s success. SoP <\/strong>was such a special and unique entity in the tech death field. Retromorphosis<\/strong> pulls the signature songwriting components and twists and contorts them into their own slick interpretation, without simply rehashing past glories. Psalmus Mortis <\/em>proved to have significant staying power since dropping early in the year, even amidst a pretty stacked year for quality death and tech death albums. Retromorphosis<\/strong> decorate their knotty, fluid and aggressive compositions with tasteful synth work, symphonic flourishes and bedazzling solos, whether charting smartly progressive, labyrinthine terrain (“The Tree,” “Machine”), and thrashy, warped tech death (“Aunt Christie’s Will,” “Vanished,” \u201cRetromorphosis\u201d).<\/p>\n

\"\"#4. Terror Corpse<\/strong> \/\/ Ash Eclipses Flesh<\/em><\/a> – After already delivering a killer grind opus earlier in the year, Terror Corpse<\/strong> got the creative juices flowing again in dropping a full-length debut of immense power and old school grit. Featuring a power-packed lineup featuring past and present members of acts including Malignant Altar<\/strong>, Oceans of Slumber,<\/strong> Necrofier<\/strong>, and Insect Warfare, Terror Corpse <\/strong>comes seasoned with death metal wisdom and experience. <\/strong>Despite a lack of innovation, Terror Corpse<\/strong> winds back the clock and transcends the typical old school death metal hordes. Injecting venomous strains of grind, death-doom, sinister atmospheres, and gut-churning brutality into beefy, riff-driven songs that fondly recall death metal’s glory days, Terror Corpse<\/strong> forge ahead into the here and now with their own character and inspired songwriting. Topped by a bevy of instantly gratifying, oozing riffs and Dobber Beverly’s elite drumming, Ash Eclipses Flesh<\/em> is a gripping old school death experience.<\/p>\n

\"\"#3. Dax Riggs<\/strong> \/\/ 7 Songs For Spiders<\/em><\/a> – The return of Dax Riggs<\/strong>, and by extension the most unexpected re-emergence of the legendary Acid Bath<\/strong>, were surely two of the most heartwarming music moments of 2025. As a longtime devotee of both Dax and Acid Bath<\/strong>, I had begun worrying that Dax’s music-making days had passed as he slunk into the background and essentially dropped off the radar for the best part of fifteen years. While holding out slim hope Acid Bath<\/strong> will decide to cross our shores, I am stoked Dax and crew are getting the long-overdue credit and exposure they deserve. Though not strictly metal, Dax’s comeback album, and first since 2010’s Say Goodnight to the World<\/em>, marks a triumphant and warm, comforting return from an underground icon. 7 Songs for Spiders<\/em> delivered the goods, as Dax and friends dropped an album with a familiar, nostalgic feel that refuses to rest on its laurels. Riggs’ defining vocals sound as vital and deliciously smoky as ever, weaving signature morbid tales, deadly hooks, and earworm melodies through subdued yet deceptively hefty and bluesy folk-doom ditties.<\/p>\n

\"\"#2. Messa<\/strong> \/\/ The Spin<\/a> – <\/em>It would be an oversimplification to describe Messa<\/strong>’s fourth LP as a streamlined version of the enigmatic Italian band’s doom-centric formula. Each album has impressed in its own unique way, adding intoxicating twists and charm to continually evolve and refresh their sound. The Spin<\/em> carries over elements of their past works and character-defining idiosyncrasies, yet feels like Messa<\/strong>’s most laser-focused, accessible, and direct album to date, and also one of their best. While I’ve enjoyed each of the band’s prior works, The Spin <\/em>is the band’s most efficient and instantly gratifying, and addictive album. Easily Messa<\/strong>’s shortest opus, The<\/em> Spin, uncorks killer tune after tune. Sumptuous melodies and rich textures color blockbuster doom bangers (“At Races,” “Fire on the Roof”), residing alongside atmospheric, jazz-dappled charmers (“The Dress”), bluesy, emotive slow burners (“Immolation”), and brooding, psych-tinged doom (“Thicker Blood”).<\/p>\n

#1. T\u00f3mar\u00fam<\/strong> \/\/ Beyond Obsidian Euphoria<\/a> – <\/em>Weirdly enough, my number one picks often don’t materialize as obviously as one might expect. This has largely been a trend throughout my tenure here at Angry Metal Guy. In all honesty, any of the top three could have been interchangeable in the top spot, but I reserved top honors for the spectacular second LP from Atlanta band T\u00f3mar\u00fam. <\/strong>All the more surprising due to sleeping on their well-received debut, Beyond Obsidian Euphoria <\/em>smacked me upside the cranium with an explosion of creativity and ambitious songcraft, encompassing elements of progressive black, melodic death, and tech death bombast. It’s an overly ambitious, sometimes slightly messy masterwork. Yet the eye-watering 68 minutes largely warrant its exhaustive length. Sure, shrewd editing here and there may have tightened things up. However, the whole experience is so consistently gripping and superbly written and performed that minor quibbles are squashed well below the surface. This fully loaded, immersive masterwork sparkles and scorches through tremendously crafted, multi-faceted compositions, including standout epics, “Shallow Ecstasy,” “Shed This Erroneous Skin,” and “Silver, Ashen Tears,” nestled harmoniously against the blunt force discordance of ‘Blood Mirage,” and compact progressive fireworks of closer “Becoming the Stone Icon (Obsidian Reprise).”<\/p>\n

\"\"<\/p>\n

Honorable Mentions:<\/strong><\/p>\n