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.

There’s a distinctive quality about French black metal that hints at its creators’ origin—and I don’t mean the language the lyrics are written in. It’s a sort of warmth that soaks into the guitar sound, which can alternately feel like roaring flames, spooky ethereality, or quaint mellifluousness depending on its implementation. Given this, it’s almost surprising that no one has done what Dysylumn do, and coalesced these interpretations into one.1 The shadowy, southern-France duo have quietly garnered a loyal fanbase in the black metal underground with an atmospheric black metal that borrows as much from the dissonant and avant-garde as it does the trve and classically melodic sub-genres. After dropping an epic double LP in 2020’s Cosmogonie, Dysylumn’s return with the comparatively miniature Abstraction is seemingly to remind us that they’re still out there, in the darkness. But what does it portend? Abstraction is deliberately and appropriately titled. Formed of five numbered eponymous tracks, its structure invites interpretation as multiple processes of some coherent whole. This is further borne out by the style of the music itself, which manifests as a sprawling, semi-dissonant form of atmospheric black metal akin to putting Blut Aus Nord through a Mare Cognitum filter. In a progressive and sempiternal manner peculiar to the genre, melodies reprise and fall away behind echoing shouts and wails—sometimes creating a sound reminiscent of a more abstract Abduction[2. the UK one]—and movements are marked more by variation on the central theme than by special transformation—with some notable exceptions (“III,” “IV”). Its reverb and fuzz-laden tremolo, graceful yet uncomfy rhythm swaps, and frequent, impassioned throat-singing may demand patience and tolerance to the uninitiated. But it doesn’t damn Abstraction to the indistinct void; it creates one of its own. Abstraction by Dysylumn If there’s anything Dysylumn have nailed with Abstraction, it’s the aura of mystique. By harnessing both the other-worldliness of unusual melody and moaning harsh vocals, and the ethereality of a subtly poignant, spacious atmoblack, the duo create a space simultaneously warm and cold. It’s weird, but it kind of works. You might be shivering at a weird high guitar line (“I,” “II,” “V”) and drifting off to a surprisingly mellow one (“IV,” “V”), and at the same time. Dysylumn switch keys and tempos frequently, but in a way that’s natural, as they slip from wintry second-wave to an almost post-black hum of plucks and taps (“III,” “IV”)—all styled in a reverb-heavy, glittery veil that’s grimy and crystalline simultaneously. With impassioned screams punctuating the peaks of dreamy and intense melodies alike (“II,” “IV”). The greatest moments on Abstraction see the strange and the beautiful fully coalesce in sweeping, stringlike tremolo melodies (“III,” “V”) and dramatically escalating, blackened-doom-coded releases (“IV”), against which gurgling growls turn to throat-singing, and then full-bodied screams. It’s here that I’m fully invested in the world that Dysylumn are crafting. Abstraction has the power to draw in its listener by being this magical combination of headily atmospheric and slightly alien. Yet it’s not until the midsection—”Abstraction”s “III” and”IV”—that this power really shows. While “I” and “II” arguably set the scene by launching immediately into frosty and floaty off-kilter scales, they are plagued by a songwriting structure that sees them endlessly iterate the same melodic patterns, switching back and forth between the same keys. This tendency reappears, though less egregiously, since the repeated key-change movement pass is forgivable when, for example, Dysylumn use it above a d-beat (“V”), and not another shuffle, or blastbeat as before. The transition, then, into the dreamlike cascades of doomier, more nuanced guitar, punctuated by affecting crashes, bellowing climaxes, and palpable urgency, that characterises the move to “III” and “IV” is stark. Dysylumn avoid discontinuity by maintaining the key threads of the hazy, half-dissonant theme that runs through the record. But the fact that the first third of a 36-minute record is its worst, and so hinders a listener’s chances of reaching the deeper, more interesting material, is frustrating and confusing. On the flipside, given the strength of the warm-cold eeriness, particularly in “I,” this is a testament to Abstraction’s generally high quality. It’s probably better for an album to improve over its runtime than deteriorate. All things considered, Abstraction deserves your patience. Short, but not forgettable, it might lend itself most immediately to distracted introspection, as with much of atmospheric music of its ilk. Yet beyond the haze, Abstraction contains genuine weirdness that’s just beautiful and dreamlike to capture the less-extreme-inclined, and real elegance that is but a few strokes away from the avant-garde. Dysylumn are on the precipice of something wonderful; they just need to find it. --- Rating: Good DR: 9 | Format Reviewed: 320kbps mp3 Label: Signal Rex Websites: Bandcamp | Facebook Releases Worldwide: October 17th, 2025 The post Dysylumn – Abstraction Review appeared first on Angry Metal Guy.

Wisconsin deathgrind outfit Violent Testimony grind through 21 new songs. The post Full Album Stream: Violent Testimony – “Aggravate” appeared first on Decibel Magazine.

Hoosier hellraisers Graveripper have been spewing their brand of blackened thrash on the streets and in the back alleys of Indianapolis since 2019. Their 2023 debut album, Seasons Dreaming Death, was covered favorably here by our dear friend Holdeneye, and while it didn’t receive one of Holdy’s famous 4.0s, it did put a ‘big, dumb smile’ on his face nonetheless, proving Graveripper had potential. Divested of all his Seasons Dreaming Death bandmates, guitarist and vocalist Corey Parks partnered with new bassist Steve Garcia and drummer Nick James to soldier on as a trio. And so, with their stable label partner, Wise Blood Records, still in tow, Graveripper prepare to release their sophomore effort, From Welkin to Tundra. Parks’ decision to wipe Graveripper’s slate clean and bring in fresh blood so soon was a bold move, but it made me curious what impact it would have on their sound. Is From Welkin to Tundra the ‘truly savage’ thing Holdeneye felt Graveripper capable of, or will this new iteration require further gestation? As evidenced by the wickedly bleak Adam Burke cover art and Carpathian Forestry of instrumental intro “Welkin, Now Tundra,” it’s clear Graveripper leaned further into the black. Still, there’s plenty of straightforward thrashery afoot, as Parks fires off a plethora of furiously fast riffs, his vocal barks, shouts, growls, and rasps sounding as vicious as ever. Beneath the surface, Steve Garcia’s bass rumbles and runs as Nick James straight d-beats his way through most of From Welkin to Tundra’s thirty-three minutes, capably corralling the craziness. Midwest mates Midnight and Wraith still hold as valid comparators (“Death’s Cold Embrace”), however, darkened mists of Aura Noir (“New Gods, New Masters”) blended with punky clouds of Darkthrone and shades of dissonant Dissection (“…And Now It’s Dark”) serve to complete the black metal side of Graveripper’s blackened thrash equation, as they manage to merge the two elements of their songwriting more cohesively than on the debut, lending From Welkin to Tundra a better sense of balance and consistency. From Welkin to Tundra by GraveRipper What Graveripper’s From Welkin to Tundra lacks in complexity is made up for in execution. ‘Simple is as simple does’ is the motto that carries the day for early highlights “Bring Upon Pain” and “Hexenhammer,” the former’s rapid-fire riffing and old-school Kreator vibe, combining with the latter’s blackened tremolos, harmonic leads, and vicious vocals, creating the basis for success. Yet, for my money, it’s the very Megadethic melodicism of the leads and speeds of “Bullet Laden Crown,” in tandem with the absolutely blistering riff-fest that is “Burning Barren Plains,” that not only end the record on a high note but are two of my favorite tracks on the album. Niko Albanese and Joe Causey provide vastly improved mixing and mastering, respectively, enhancing the consonance among tracks, improving the flow, and alleviating many of the production woes that impacted Seasons Dreaming Death. As improved a unit as Graveripper presents here, especially considering the near-complete scrubbing of its membership, there were a couple of things on From Welkin to Dusk that left me wanting. First, and this is a minor issue of pacing, is the lull I continuously experienced in the run of songs from “Death’s Cold Embrace” to “Hounds of Hell,” each track adhering to a straight thrash riff-riff-run-and-done approach that bleeds the three tracks together before returning to more blackened climes on “New Gods, New Masters.” Second, there’s a dearth of shred on offer that I definitely would have liked to hear more of. Parks’ broadening solo skills shine bright on the horizons of “Bring Upon Pain” and “Burning Barren Plains,” but aside from a very brief foray on “Hounds of Hell,” From Welkin to Dusk is void of solo work, an element that, if effectively incorporated, could push Graveripper to the next level. It’s nice to highlight that there’s more to Indiana than corn and The 500, as Graveripper, alongside bands like Wraith, Wolftooth, and others, continue to shine in a solid Hoosier metal scene. From Welkin to Dusk is a formidable step in the right direction for Graveripper. I’m hopeful this lineup will maintain its continuity, as I am sure, with a little more high-tone shred poured in, they’re capable of loftier levels of lethality. For now, I encourage you to take From Welkin to Dusk for a spin and don’t stop at my numerical score because this thing is, in fact, good! --- Score: 3.0/5.0 DR: 6 | Format Reviewed: 320kbps mp3 Label: Wise Blood Records Websites: Bandcamp | Facebook | Instagram Releases Worldwide: October 17th, 2025 The post Graveripper – From Welkin to Tundra Review appeared first on Angry Metal Guy.

One of my favorite bits in the game Portal 2 comes near the very beginning, when the player is commanded to go stand in front of a piece of art. It’s an okay piece, depicting a lovely mountain overlooking a lakeside cabin where everything looks peaceful, somewhat colorful, and safe. By the end of our momentary study, we are assured we should now feel “mentally invigorated.” Such mental vim and vigor is sought out in more artistic albums, which don’t seek to liquify teeth as much as transport us to other realms and times, whether it be brimming with life and motion or a well-executed snapshot of a mood. Morke, a project spearheaded by sole member Eric Wing, have arrived with self-described “Atmospheric Castle Metal” on display for their fourth album To Carry On, and the question is, will you indeed keep it moving after indulging in its color schemes, or allow yourself to get swept away to times long forgotten? On first listen, all I could think was “wow, this sounds exactly like Obsequiae.” Turns out my ears are very astute, as Tanner Anderson is credited in the promo as making contributions to the album. The precise degree of his participation isn’t specified, but if you’re a sucker for his band, then there’s plenty for you to feast your ears on here. To Carry On tries its hand at singing its own Palms of Sorrowed Kings while taking a much more streamlined and basic approach. Trimming down the more raw production of previous efforts, Morke spread out the tonal palette to allow leads, leads, and more leads (“Falling Leaves”, “Sublymed Respair”) to carry the bulk of the presentation, with enough clarity in the production for some tasty bass lines (“Ashes of Fuedalism”) to make their presence known. To Carry On by Morke Much like individual brush strokes coalesce into one whole, To Carry On places pretty much all its emphasis on atmosphere. The bulk of the album is mid-paced, with leads relaxing and guitar tones colorful. The drums are well placed as far as occasional double bass drops go to remind you that this is, in fact, still a metal album, even as the tempo and general vibe never approach anything truly heavy. The uniformity of the tonal palate is the larger philosophical struggle Morke presents: this painting of a flowers-and-fog-drenched castle is well crafted, but there are precious few touches that truly stand out. Mid-album tracks “Coup D’oeil” and “Viola Odorata” flow nicely together with some riffs of genuine memorability. However, bookending the album come tracks which end up starting to sound self-plagiarizing, with similar intervals and scales utilized, which never become boring, unto themselves, but do become familiar far too quickly. Ultimately, the question of listener enjoyment will come down to expectations. To Carry On doesn’t have the vibrancy and depth of Summoning or the kinetic enthusiasm of Obsequiae. Those bands are atmospheric masters who manage to invoke life into their riffs, the latter with their energy and the former with their creative use of other instruments. What Morke offers up instead is a collection of tracks which play toward the greater whole, where the listener is enveloped in an atmospheric sense without necessarily latching on to any particular highs, lows, or fist-pumping “hell yeah” inducing moments one typically looks for. In fact, other than the aforementioned two-track run in the middle, To Carry On is relatively devoid of highs and lows, instead leaning in on complete and tonal consistency, for better and worse. This makes administering an appropriate score more challenging than I’d expected. I have been fortunate enough to visit my share of art museums over the years, and no great painting can be appreciated at a mere glance. Color schemes, stroke methods, and materials used all warrant consideration when enjoying the greater whole of the painting before us. And yet, part of me insists that I don’t listen to albums for the same reason I look at paintings, and I feel that holds To Carry On back. If you are looking to get mentally swept up into the moods of knights and serfdom, mentally add an extra half point for yourself and hear an enthusiastic endorsement on the potency and excellence that the atmosphere summoned has to offer. For my own part, I can’t help but hope for more vibrancy and less “still life” going forward. Until then, you will hear a buzzer. When you hear the buzzer, you may stare at the art… --- Score: 2.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: True Cult Records | Website: Album Bandcamp Releases Worldwide: October 10th, 2025 The post Morke – To Carry On Review appeared first on Angry Metal Guy.

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task? The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own. Svekkelse by GJENDØD With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone. Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like. Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next. --- Rating: Good! DR: 10 | Format Reviewed: 320 kpbs mp3 Label: Osmose Productions Website: Facebook Releases Worldwide: September 26th, 2025 The post Gjendød – Svekkelse Review appeared first on Angry Metal Guy.

Local authorities have allegedly canceled Disturbed's concert in Brussels due to protests linked to David Draiman's stance on the Israel-Hamas conflict. Continue reading…