Check out the full chaos here: https://youtu.be/hjcQrS8R3Ps

https://youtu.be/L84SbbpTN-4 Director / Cinematographer / Editor Malcolm Pugh Lighting Director Brant Chastain Studio Bass Evan Brewer Additional Synth Eric Guenther Set Photographer Rachel Craig Chaney Crabb Styled by AFFAMÉ Audio Produced by Mark Lewis & Navene Koperweis Mixed and Engineered by Mark Lewis Additional Audio Editing by Evan Sammons Mastered by Justin Sturtz at Sterling Sound

Norwegian band Uaar are back with a raw, angry atmospheric d-beat album titled Galger og Brann, Norwegian for “Gallows and Fire,” out October 17 via Fysisk Format. You can hear it with us first. Galger og Brann by Uaar In the spirit of d-beat, the band did the entire record DIY, recording, mixing, mastering, creating the... The post Album Premiere: Uaar – “Galger og Brann” appeared first on Decibel Magazine.

New Jersey’s Evoken is one the big names in the very niche genre of funeral doom. Since 1994 they’ve been churning out lengthy, unhurried odes to despair and tragedy, taking heavy inspiration from the Peaceville Three era while forging a path of their own. Albums like Quietus and Antithesis of Light are regarded as funeral doom triumphs, and you can depend on Evoken to deliver carefully crafted epics full of emotionally harrowing moods. It’s been a long time since 2018s Hypnagogia dropped, and 2025 finally sees these Garden State downers resurface for 7th full-length, Mendacium. And when I saw full-length, I mean FULL, as this beast runs over an hour with songs typically in the 9-10 minute framework. Funeral doom can be a tough sell to many, even when executed adroitly. Will there be an appetite for an hour-plus of what Evoken have prepared for the ears? Nearly 10-minute opener “Matins” isn’t what I would call a soft intro to the Evoken experience. It’s eerie, ominous funeral noise with heavy, drawn-out doom riffs, cavernous death croaks, and nerve-jangled synths, but as the monster shambles forward, more melodic touches emerge from the miasma. Sad, forlorn piano keys twinkle in that My Dying Bride way, and a vaguely Gothic mist swirls below the heavier assault. Sudden upheavals of blast beats and trem riffs jumpstart the energy, and tempos are toyed with just enough to keep things from becoming a faceless mush of doom plod. The package is what Evoken have done before, and it isn’t showing new textures so much as moving established genre pieces around on the board. The forlorn guitar lines and solos ache with emotion, and a feeling of suffocating hopelessness is maintained throughout. Is it a chore to get through? That will depend on how well you stomach funeral doom, but even for a fan like me, it does feel a bit long by the end. “Lauds” is another 10-minute death march, but a bit more “urgent” in its pacing, with more emphasis on force and less on atmosphere and nuance. The dramatic spoken word bits can be a take-it-or-leave-it element, but the riffs are meaty and heavy, and there’s a sense of danger here instead of just grief. It’s got genuinely gripping moments, and the vaguely liturgical feel of the synths and ghostly choirs is a nifty touch, but Evoken drag segments out past the point of usefulness with resultingly diminishing returns. For my tastes, “None” is the album highlight. Though typically slow to get locked into gear, once there, you’re greeted with gripping death and black vocals and a rising intensity that feels like it’s on the highway to Hell. There’s real menace here, though restraint and leaden pacing are still the watchwords. The extra weight from the riffs helps keep attention, though Evoken still tests your patience with stretched-out segments of minimal action. Closer “Compline” dives deeper into classic doom and the salad days of My Dying Bride and Anathema with mostly positive results. I especially like the banged upon piano keys, which hint at something disturbing. The big obstacle across Mendacium is the way Evoken build their long-form compositions. They can often feel flat and undynamic, even by funeral doom standards. The tracks with the most routine tempo shifts work best, but even they feel 2-3 minutes too long. This isn’t a new issue for the band, but it seems to have become more pronounced starting on Hypnagogia. There are long segments that could appear on a new age meditation album, where you can sit and zone out to the astral plane. That’s fine, but I don’t want lots of that in my funeral doom. John Paradiso and Chris Molinari offer a fair amount of heavy doom riffs, and there are plenty of plaintive harmonies that speak of melancholy and despair. They aren’t the most dynamic riff authors out there, but they know how to set a mood and build atmosphere. Paradiso’s vocals are effective, his death roars booming and menacing and his evil blackened cackles sounding suitably demonic. I’m not a fan of the spoken word bits, but that’s a genre-wide issue and a personal preference. Vince Verkay does a lot on the kit when let off his leash by the funerary slogging. He’s one of the bright spots here, and I find my attention drawn to his playing frequently. Evoken are pros at this style of doom, and Mendacium is solid, competent funeral doom with some writing snags that take it down a few notches in effectiveness. Too many moments evoke spa time, sitting with cucumber slices on my eyes rather than sobbing inconsolably at a loved one’s grave. I need less spa, more funeral. This may be one of the most restrained things to ever come out of New Jersey, and that’s not a selling point for Yours Steely. Still, if the mood is right, this could lull you into an early grave. A muted endorsement.  --- Rating: 3.0/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: Profound Lore Websites: evokenofficial.bandcamp.com | facebook.com/evokenhell | instagram.com/evoken_doom_official Releases Worldwide: October 17th, 2025 The post Evoken – Mendacium Review appeared first on Angry Metal Guy.

Check out a massively in-depth preview of the Munsens' new album! The post Full Album Stream: The Munsens Return with Degradation in the Hyperreal appeared first on Decibel Magazine.

If you’re like me, then your experience with German industrial metal largely revolves around Rammstein, the fun, if not inconsistent, institution that still somehow sells out arenas worldwide with their patented brand of simple riffs, simpler grooves, and deep-voiced German monotone “singing.” If you’re also like me, then listening to Rammstein became a lot less appealing when allegations surrounding frontman Til Lindemann arose, tainting my ability to enjoy the band. Thankfully, Germany is nothing if not efficient, and for every aging industrial Goliath there’s a newer, sleeker unit revving up on the assembly line. Erdling is one such machine, and they’ve been honing their brand of Neue Deutsche Härte since 2014. 1 My simian overlord, Steel Druhm, found their 4th record, 2020’s Yggdrasil, to be competent enough, if not a tad underwhelming. Since then, the Krauts have kept busy, releasing 2 albums in quick succession and garnering a respectable (and I presume mostly German) following. Now, they’re back with Mana, a lean collection of 11 tracks readymade to soundtrack a Berlin nightclub. Has Erdling crafted a delectable enough display of dance-inducing industrial to fill the void? Mana is what happens when Rammstein and Crematory’s industrial template slams into the glossy, market-tested sheen of Amaranthe. No, Erdling doesn’t have over-processed female vocals or cringe-inducing rap parts (thank Wotan); instead, they take the clear craftsmanship and studio-minded sheen of a more commercial-oriented Euro sound and apply them to a beefy industrial metal core. The result is a batch of sleek, pop tunes that feel precision-engineered to get your fist pumping and stick in your head for days afterwards. The essential ingredients—straightforward Nü-tinged riffing, simple but danceable grooves, and monotone but charismatic German spoken vocals are all here—but they’re arranged in razor-tight formation and often spruced up with garish synth leads or autotuned choirs. Nearly every track on Mana sits around the 3-minute mark, featuring absolutely zero fluff or overlong vibe-killing sections. We have the tried-and-true methodology of ABABCB 2 applied throughout with just enough variety to keep things interesting. For most albums, this slavish devotion to formula would turn me away, but luckily for Erdling, they’re incredibly proficient in their execution. Mana by Erdling A full listen of Mana delivers industrial metal banger after banger in rapid succession. The single “Dominus Omnium” showcases Erdling’s command of the style, skillfully building from eerie, restrained verses that highlight vocalist Neill Freiwald’s sinister delivery, into massive, synth-drenched choruses backed by layered guitars. Throughout the album, Erdling nods to various major European metal acts, adding variety and keeping the tracklist feeling fresh. “Los Los Los,” for example, is driven by an Amon Amarth-style melodeath riff but leans more into dance territory, complete with a flashy EDM lead that shines throughout and, of course, an earworm of a chorus. “Miasma” draws from the folk metal playbook, centering its chorus around a natural minor progression you’ve probably heard in dozens of Alestorm tracks. Another element that sets Erdling apart from many of their industrial peers is their lead guitarist. Ole Anders delivers several impressive solos and tasteful lead melodies across the album, adding a dynamic edge to even the more traditional cuts. Tracks like opener “Aurora” are pulled out of complacency by fiery, harmonized guitar work that keeps things from feeling too safe. Now, it’s not all glühwein and glowsticks. Mana is a formulaic record by design and by limitation. Erdling commit to their template with near-militant discipline. There are no breathers, no tempo shifts, no moody detours. If you’re hoping for a left-field ballad or something vaguely introspective, keep walking. That said, the B-side introduces some welcome variations, like the blast beats and blackened vocals on “Alles dreht sich,” or the somber clean guitar textures on the closer “Sternenschimmer.” The album doesn’t evolve so much as it sprints headfirst into your chest for 37 minutes straight. But that also makes it endlessly re-listenable. Where most industrial albums sag under the weight of their own cyberpunk cosplay, Mana just keeps throwing punches. It’s the kind of record that’s over before you notice, only for your body to demand you hit play again like some kind of blood sugar-crashing dancefloor junkie. At the end of the day, Erdling aren’t here to challenge the genre’s boundaries; they’re here to perfect it. Mana is a polished, addictive blast of industrial metal that would feel equally at home in a sweaty Berlin club or as fuel for your next deadlift PR. The songwriting is tight, the hooks hit hard, and the band understands exactly what kind of experience they’re delivering: 100% efficiency, zero filler. Is it deep? No. Is it innovative? Not really. Is it a blast and addictively replayable? Absolutely. Until Rammstein either implode or redeem themselves, Erdling just might be the Neue Deutsche Härte fix we need. --- Rating: 3.5/5.0 DR: 7 | Format Reviewed: 192 kbps mp3 Label: Out of Line Records Websites: erdling.rocks |erdling.bandcamp.com Releases Worldwide: October 17th, 2025 The post Erdling – Mana Review appeared first on Angry Metal Guy.

Tech N9ne opens up about everything he's working on at the moment and why he loves playing festivals like Louder Than Life. Continue reading…

M. Shadows taped a welcome home message for two newly released Israeli hostages who were also Avenged Sevenfold fans. Continue reading…

Roman hardcore band Feldspar are back with a new single and video  “Pasta Day,” out October 16 (World Food Day, incidentally) via Time To Kill Records. Check out the video below before it drops everywhere else.  Produced by Nick Terry (Turbonegro, The Libertines, Stone Roses, Peaches) and recorded at Black Water Studios, the song follows their 2024 album Old City... The post Video Premiere: Feldspar – “Pasta Day” appeared first on Decibel Magazine.

Hear Montreal DM crushers Scorching Tomb roll the bones on full-length debut Ossuary. The post Full Album Stream: Scorching Tomb –Ossuary appeared first on Decibel Magazine.

The speedrunning doom drummer returns to a newly rebranded Kill Feed to share how slowing down has gotten him back into the game. The post KILL FEED 072: Joe Linden of PRIMITIVE MAN May Be Slower But Not Lower appeared first on Decibel Magazine.

Hear New Jersey stalwarts Tombs return from the catacombs with Feral Darkness, a record that feels less like a “comeback” and more like a blood-moon ascension. The post Album Premiere: Tombs – Feral Darkness (Redefining Darkness) appeared first on Decibel Magazine.

Defigurement’s debut album Endbryo is classified as experimental deathgrind, and though that’s accurate, it doesn’t fully capture what’s on tap. Endbryo is an album in constant flux, never content to lock into one vibe for too long. While experimental, Defigurement still adheres to grindcore’s brutal core tenets: short songs and unfettered aggression. Their sound isn’t limited to just these things, though, as Defigurement adopts crackerjack technicality that contrasts with the blunt drubbing associated with much of the subgenre. Varied paces and some unconventional instrumentation further heighten Endbryo’s unorthodox approach. Dissonant bleats, melodic leads, blast beats, and key-heavy interludes create an engaging atmosphere. Yet it takes more than a wide-ranging assortment of sounds and ideas to fashion an album. With so many ingredients to unite, you may wonder what Defigurement actually sounds like. Gridlink’s Coronet Juniper, Full of Hell’s Coagulated Bliss, and Beaten to Death’s Sunrise over Rigor Mortis provide apt reference points. These albums imbue deceptively melodic hooks into grindcore’s caustic backdrop, a convention perpetuated on Endbryo. Gridlink’s own Takafumi Matsubara even appears on “Wounded Landscape,” imparting gorgeously malicious riffs. In addition to grindcore influences, Defigurement pays homage to System of a Down via the “Suite Pee”-tinged intro of “Shogun of Sorrow” and the Slayer “Rain in Blood” gallop heard in “Wounded Landscape.” Rather than aping these acts, though, Defigurement forges a stank all their own. Chaos is the name of the game, but not all of it is funneled through uniform, full-tilt abuse. Endbryo’s half-hour pumps blood and rhythm through sixteen tracks, featuring constant shifts in tempos and moods that make the music feel alive and unpredictable. The album is jam-packed with so many morsels that even after dozens of listens, I’m still discovering new details. Endbryo by Defigurement Conceiving such a diverse and layered soundscape requires heaps of vitality and musicianship, and Defigurement steps up to answer the challenge. From Mike Heller’s (Changeling, Azure Emote, ex-Fear Factory) atom-blasting drums to Kevin Fetus’s snaking leads and D.M.T.’s gritty bass, Endbryo brims with relentless vigor. Heller’s drum performance in particular elevates Defigurement’s character. Juggling blast beats, disco hi-hat frills (“Open Veins, Visceral Tapestry”), and jazzy phrasing (“We Are the Worst”) shouldn’t be this seamless, yet Heller’s nimble work provides the engine for the album’s mélange of styles. Rounding out the rhythm section, D.M.T.’s meaty bass grumbles and grooves in support, and a couple of intros even throw the spotlight on his throaty purr (“Wounded Landscape,” “Godtopsy”). Guitars attack from every direction, utilizing trem-picked blitzes (“Burnt by the Truth”), plaintive wails (“We Are the Worst”), and glossy shredding (“Godtopsy”). Matthias Joyce’s vocals are capable and versatile, sitting far enough back in the mix that they mesh smoothly with the music rather than overpowering it. Besides Matsubara, several other guests pop in, including Brian Hopp (Cephalic Carnage) and Leon Del Muerte (Impaled, ex-Nails). Endbryo boasts a potpourri of talent, and this bouquet reeks of grind beef. Endbryo sounds great, even though some moments don’t effortlessly converge. Subgenres like grindcore don’t need much auditory contrast to be effective, but Endbryo boasts a DR7 anyway, benefiting the complex structure of its tracks. The finely-tuned mix allows listeners to appreciate the nuances of the performances within, notably the drumming; a lesser production could have obfuscated Heller’s unhinged sticksmanship. My only complaint is that with such a dense album, Defigurement doesn’t quite achieve the cohesion needed to stitch all of Endbryo’s fragments together. Piano-only interlude “Eternal Dusk” is a beautiful instrumental featured about halfway through. It allows you to take a breath before re-entering the maelstrom, but foreshadowing the melody earlier or including piano elsewhere would have strengthened its inclusion. Similarly, “Left in a Cold Rain” contains slowly swirling synths played under a distorted voice-over. Once again, this skillfully navigates the album’s pacing, but without more tethers to other tracks, it feels isolated from its surroundings. Despite these small shortcomings, Endbryo scores a resounding success. Defigurement pulls no punches on Endbryo, hewing a slab of great experimental deathgrind. Their ferocity is bruising and their vision unyielding, and it’s rare I encounter music that demands so many repeated spins. This platter is captivating, and each time I think I have Endbryo figured out, the next listen corrects that notion. So many ideas loaded into thirty minutes might seem daunting, but Defigurement expertly balances intrigue and digestibility. Assuming Endbryo is only the beginning, I’ll wait on the edge of my seat to hear how the band’s sound develops. --- Rating: Great DR: 7 | Format Reviewed: 320 kbps mp3 Label: Nefarious Industries Websites: Bandcamp | Facebook Releases Worldwide: October 17th, 2025 The post Defigurement – Endbryo Review appeared first on Angry Metal Guy.

An application was submitted to trademark the 'Back to the Beginning' name in the U.S., leading to speculation that it may be turned into an annual event. Continue reading…

Written By: NamelessN00b_606 Since nostalgia drives the creation and consumption of so much contemporary metal, metalheads might be interested in its etymology. A borrowing from post-classical Latin that combines the ancient Greek νόστος (‘return home’) and ‑αλγία (‘pain’), ‘nostalgia’ meant something like a pathologized homesickness when it came into English usage in the eighteenth century.1 So if you’re nostalgic for, say, the gothic doom metal of the 1990s, then 90s gothic doom is your musical home, your longing for this home rises to the level of a physical ailment, and Harvest may have the cure. A new Italian quintet, Harvest describes itself as an earnest tribute to bands like My Dying Bride, Paradise Lost, and Katatonia. As with any album overtly tapping into the past, the hope is that For the Souls We Have Lost, Harvest’s debut, administers a ‘stalg salve with its own unique fragrance. For the Souls We Have Lost succeeds at sounding like its inspirations. At the core of Harvest are barebones, Sabbathian riffs, reminiscent of the way My Dying Bride practices Sabbath revival on an album like The Angel and the Dark River. Vocally, Emanuele resembles Aaron Stainthorpe in both his clean and extreme registers. Emanuele and guitarist Fabio Torresan offer simple yet effective interplays between gothy croons, Iommian phrases, and macabre growls, especially on “Floating Leaves.” But no doom with gothic aspirations can do without gloomy atmosphere. In addition to supplying a second guitar, Matteo Gandolfi plays keyboards, adding texture via synthetic strings (“Floating Leaves”), choirs (“Born Alone”), and horns (“Shining Moon”). These elements nicely fill out the refreshingly open production of For the Souls We Have Lost, especially on closer “The Path of Life.” Harvest have crafted a debut that will transport listeners to a graveyard poetry reading in 1997, with Paradise Lost’s Gothic and Katatonia’s Brave Murder Day providing the soundtrack. For the souls we have lost by Harvest Doom is an inherently direct subgenre, but simplicity often holds For the Souls We Have Lost back. The main riffs in both “Hunter of Souls” and “Shining Moon” are a bit too straightforward; they would have benefited from some variation. On the songwriting front, most of these songs include a clean or acoustic guitar break in the middle (“Floating Leaves,” “Hunter of Souls,” “Shining Moon”). This is a common way to approach a bridge in doom, but it becomes a predictable pattern here. These sections also raise another issue: the dryness of the non-distorted guitar tones. Opener “Born Alone,” for example, begins with a two-chord progression played by a clean guitar lacking character. The song eventually kicks into heavy gear, but when it returns to its dry-clean progression in the middle, the song ends up feeling like a buildup without a payoff. The vocals do occasionally elevate these songs, though they present their own challenges. On the clean side, Emanuele favors a mid-range croon that results in some memorable hooks (“Floating Leaves,” “Hunter of Souls”). At other points, however, the cleans don’t hit the ear in the best way. The verse to “In Shape of Beast” includes melodic jumps that are kind of catchy but that don’t mesh with the supporting music. Similarly, “Shining Moon” ends with a cappella vocals that waver when they should be commanding attention. On one song, the cleans sound like the work of a different vocalist. “Born Alone” drops a droning monotone atop its simple chord progression, which doesn’t do much to develop the melody.2 Whereas the rest of the album has those satisfying, Stainthropean swings in inflection, “Born Alone” sets a flat—and retrospectively confusing—tone as the opener. If 90s gothic doom is your home, then you probably won’t need to consult your doctor before taking For the Souls We Have Lost. Such listeners will find comfort across the album’s reasonable 37-minute runtime, particularly from “Floating Leaves” and “The Path of Life.” If, however, the subgenre is more like the Victorian house of an esoteric neighbor, then For the Souls We Have Lost probably won’t do much for you. The retro production won’t read as charmingly nostalgic, and the inconsistencies will prevent full immersion. Harvest have done a good job conjuring the matter and spirit of their influences; hopefully, their follow-up will play off their strengths to develop a unique identity. --- Rating: 2.0/5.0 DR: 11 | Format Reviewed: V0 mp3 Label: Octopus Rising Records (sub-label of Argonauta Records) Websites: harvest-doom.bandcamp.com | facebook.com/harvestdoom Releases Worldwide: September 26th, 2025 The post Harvest — For the Souls We Have Lost Review appeared first on Angry Metal Guy.

Black-thrashers Graveripper perform their own anthems to the welkin and tundra. The post Full Album Stream: Graveripper – “From Welkin to Tundra” appeared first on Decibel Magazine.

Watch/listen here: https://youtu.be/dAA9J5SIDO4 Nine Treasures' new album, 'Seeking The Absolute' drops October 24th! Pre-order HERE: https://www.metalblade.com/ninetreasures/

Lamp of Murmuur enter a new era with their latest single, "Reincarnation of a Witch." The post Track Premiere: Lamp of Murmuur – ‘Reincarnation of a Witch’ appeared first on Decibel Magazine.

Biohazard are one of those bands that held my interest and affection, but only for a small window of my life (1992 through 1996). While their mean street NYC tough guy hardcore-meets-metal sound resonated with me as a dumb, loud 21-year-old, by the time I was approaching 26, it all started to feel too “try hard” and adolescent, like something I should move beyond. After that, I would still enjoy the hits from Urban Discipline and State of the World Address on gym playlists, but I rarely went back to the actual albums or sought out their new stuff. When it was announced that Biohazard had reformed the original lineup for a new album, some 13 years since the last release, I had more than a few reservations. The NYC badass schtick is a perishable one with a definite shelf life, and the idea of a bunch of dudes in their 50s shouting about curb stomping me just wasn’t a selling point. Still, the Cro-Mags pulled it off, so maybe these guys could too. I sampled the early singles, and to my surprise, they were quite entertaining. And here I am reviewing Divided We Fall against my better judgment. Can these Brooklyn goons deliver the burly goods all these years later? The short answer is…yes. Divided We Fall is a shockingly spry, punchy outing with catchy writing and enough testosterone to power 4 Cam Skattebos. It’s basically the album that could have followed Urban Discipline, with a collection of short, angry anthems about staying hard no matter what life throws at you. Opener “Fuck the System” sounds exactly like you’d expect. It’s enough like classic NYHC to conjure memories of Madball, Agnostic Front and crossover acts like Pro-Pain. They keep that rowdy, pissed-off tone going on bruisers like “Forsaken,” and the uber rugged “Eyes on Six,” which is one of their most catchy and entertaining tracks ever. This one stinks of BO and malt liquor, and it will hit you a pipe and dump you in the Gowanus Canal. Slower cuts like “Death of Me” blend well with the bouncy, classic hardcore urgency of “Words to the Wise” and “The Fight to Be Free,” and at no point does the machismo drop below mega-toxic levels. There are a few missteps though. “S.I.T.F.O.A” is too rap-centric and ends up sounding like a cross between Anthrax’s “I Am the Man” and one of the godawful raps by SNL in-house comedy act The Lonely Island. Closer “Warriors” mostly works and has cool parts, but Evan Seinfeld singing “the warriors” oh so seriously doesn’t really help. Still, 9 out of 11 tracks landing and delivering more or less vintage Bio-sounds is quite a shocker. And the band smartly keeps every song in the 3-minute window so everything motors by in a sweaty fury. The sound is what you’d expect from this kind of band, and production is credited to Jonathan DeMaio. I’ll assume that’s actually Joey DeMaio from Manowar because that’s way too fucking funny. Both Billy and Evan sound fine vocally. I’ve always preferred Billy’s rough bellowing, and he still sounds like he could beat your ass. On tracks like “Eyes on Six,” he sounds angry, mean, and murderous, and that’s essential for this kind of music to get over. Evan sounds like Evan, not better or worse, and he only irritates me when he tries that rappy-metal bullshit or tries to sing too much. The guitar work from Billy and Bobby Hambel is sharp and recalls the glory days quite clearly. You get a collection of very NYHC-inspired riffs designed to get you pumped up and into the pit leaping over pizza-rats and comatose hobos. The minimal embellishments work well in the songs, and I even hear traces of Prong at times, so that’s a win. This ain’t prog, folks. It’s simple, fugly noise for the mouth breathers and lunkheads, and that works just fine for me since I’m both. Divided We Fall has no business being as good as it is, and it’s on close to the stuff Biohazard were churning out during their peak. That means you get rough, confrontational meathead metal for those with fatty beef in their brain, and there’s a demographic for that. I can’t say I will be blasting this one way into the future, but I already moved select cuts to the gym playlist for maximum gainz. Maybe I still needed a few good curb stomps. Maybe you do too. If so, Biohazard want to say hello from the gutter. --- Rating: 3.0/5.0 DR: NA | Format Reviewed: Fucking STREAM! Label: BLKIIBLK Websites: facebook.com/Biohazarddfl | instagram.com/biohazarddfl Releases Worldwide: October 17th, 2025 The post Biohazard – Divided We Fall Review appeared first on Angry Metal Guy.

Hear Fermented Mess offer a grimy and relentless testament to trve grindcore in a sea of filthy pretenders. The post Blast Worship: Fermented Mess appeared first on Decibel Magazine.

This is my first time reviewing Brooklyn’s Tombs, but it’s not my first time experiencing them. Each year that a new Tombs drops, I feel the hype machine churning from the community, which I love, disinterring my interest in the sludgy, blackened call Tombs is now known so well for. It’s been five years since the somewhat divisive Under Sullen Skies first graced my ears, and now I take over for Doom_et_Al to serve at the foot of Feral Darkness. Tombs pushes forward with much of their confident, swaggering style intact. A boisterous mix of Black Royal groove, Oathbreaker vitriol, and a touch of that post-tinged Inter Arma nastiness, Feral Darkness makes a strong case for the style. A burbling, clanging bass tone and stomping drum kit drives this record with greater heft than I experienced on previous installments, evoking a deep-seated, monstrous rage that rattles my bones. Meanwhile, a frightening howl and a chanting croon ensorcells the spirit in much the same way as those who call upon eldritch forces maleficent and omnipotent, Sulphur Aeon. Filling the space between, a crunchy guitar tone lightly dusted with a moldy, post-metal fuzz envelops my senses and draws a sense of warmth into my flesh. Feral Darkness by Tombs It’s a highly successful sound, one that is sometimes relegated to songwriting that doesn’t take full advantage of its power. Admittedly, Feral Darkness launches in fine form, with three muscular, riff-laden numbers that, while all falling somewhere inside the mid-paced category of speed, nonetheless propel with force. However, somewhere between the final third of the gloom-and-doom “Granite Sky” and the charred and post-y “Last Days,” monotony sets in. A lack of variation in pace wears on the mind, and a dearth of creative songwriting or exciting ideas siphons impact and memorability from the first half. As such, in moments where my time is precious, I struggle to commit to the rest of Feral Darkness’ bloated 50-minute runtime. With time and some patience, I learned to remind myself that at this exact moment, a minor miracle occurs. “The Wintering” explodes in a burst of violent velocity capable of beheading those weak of upper spine, and Feral Darkness finds firm footing at last. The hits keep coming, too, as evil cuts like “Black Shapes” and the deathly “Wasps” double down on the blackened side of Tombs’ multifaceted personality. Layered tremolos and striking energy form a ashen shell that coats the final third of the record, as if to signify the final evolution of Feral Darkness’ story. Consequently, a new sense of scale builds a formidable presence that makes me forget my earlier quibbles, at least for a moment. Latecomer “Nightland” reprises those issues that plagued the first half, bloating the runtime with seven minutes of uninspired eeriness and a lack of compelling songwriting to go with it. Tombs unearthed every tool they had in their long-established kit to craft Feral Darkness. I respect that level of versatility, and at the end of the day, the result is enjoyable, albeit a little choppy. Feral Darkness’ best material handily saves the record from falling down the pit of boredom, but it arrives almost too late. If they focused their efforts on their strongest ideas and left fluffy filler like “Nightland,” “Last Days,” or superfluous closing outro “Glaeken” on the cutting room floor, Tombs would’ve had an unstoppable, destructive monster to showcase to the world. As it stands, Feral Darkness will certainly please established fans of the band or the style, but might not convince skeptics or casual passers-by. It’s up to you to decide in which camp you belong. --- Rating: Good DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Redefining Darkness Websites: tombscult.bandcamp.com | facebook.com/TombsBklyn Releases Worldwide: October 17th, 2025 The post Tombs – Feral Darkness Review appeared first on Angry Metal Guy.

Both receptions were packed with metal band members and Elvis impersonators. Continue reading…

The night Dimebag Darrell met David Ellefson, he wanted to make sure he understood how much Megadeth meant to him. Continue reading…

ARTIST: Wretched ALBUM: Decay RELEASE DATE: 10/17/2025 US Store: https://metalblade.indiemerch.com/collections/wretched EU Store: https://shop.metalblade.de/collections/wretched 01. Decay (00:00) 02. Malus Incarnate (05:26) 03. The Royal Body (08:48) 04. The Crimson Sky (13:43) 05. Radiance (18:41) 06. Clairvoyance (23:05) 07. The Mortal Line (27:29) 08. Behind the Glass (30:59) 09. Lights (47:00) 10. The Golden Tide (51:42) 11. Blackout (56:12) 12. The Golden Skyway (01:01:17)

Suit up for a thrashing from Chile speed dealers Armoured Knight on their Dying Victims debut, The Quest For the Sacred Melody. The post Full Album Stream: Armoured Knight –The Quest For the Sacred Melody appeared first on Decibel Magazine.