HamiltonsLive

@hamiltonslive.bsky.social

15 minutes ago

EP/Split/Single Roundup of 2025, Part 2 It’s me again! This will ideally be posted on a much tighter schedule following Part 1, which is just as well, because we’ve gathered some truly wonderful gems for you guys in this one. Something that just occurred to me about what makes EP’s so lovely is their lower sense of commitment. My executive dysfunction is assuredly apparent thanks to the lateness of these posts, which I addressed in Part 1, and that can affect my listening habits as well. Albums are long, and I want to turn on my brain to give them the active listen they deserve, and as such it can feel almost embarrassingly intimidating to try and listen to the endless deluge of new albums. EP’s, on the other hand, are at just the right length that I never feel any irrational stress about digging into them; they’re always just right. So, if you’re anything like me and you struggle to find the correct time to listen to long albums where the weather is just right and you’re not too hungry and the stars align into the shape of my huge beard, then take after me and revel in the miraculous accessibility of EP’s, Splits, and Singles. My apologies to the writers who had to wait so long for these to be published, and allow me to briefly puppet the Dolphin Whisperer-shaped homunculus I made for an occasion such as this: “Hello, thank you for enjoying our selection of EP’s. Let us know which is your favorite in the comments. My thanks to Mystikus for letting me know I can rely on him, and for making me realize how much I love Subsignal. I will be giving everybody who reads this one thousand dollars.” Ah, that lovable scamp. Enjoy! – Mystikus Hugebeard --- Panopticon // The Poppies Bloom For No King – Comprising two expectedly epic-length songs: the title track, and a 2022 re-recording of “…Speaking…” (from the 2008 self-titled album), this is a capsule of Panopticon perfection. “The Poppies Bloom For No King” is almost indescribably intense and gorgeous, with waltzing, trembling strings swelling with the tides of crashing percussion and ardent cries, featuring a poetic, heartfelt speech written and performed by a Persian-American friend of Austin Lunn. Riding on the wave of heartbreak and quiet hope, the ethereal tremolos that open “…Speaking…” take you under a flood of atmosphere, and carry you through the endless emotional peak of devastated melody and grieved screams. “…Speaking…” has been my favourite Panopticon song from the first time I heard it, and the new recording only increases its transcendental emotional weight; “The Poppies Bloom For No King” strikes me with a similar instant indescribable connection—similarly crippling in every facet, whilst lifting my soul out of my body as I dissociate due to its supernatural brilliance. The songs are also linked conceptually as protests on behalf of the oppressed, but “a call to compassion,” with “…Speaking…” lamenting our careless exploitation of non-human animals, and “The Poppies…” the difficulties facing undocumented immigrants in the US. Lunn is even donating 75% of the profits to give legal defense to families deported by ICE.1 There’s plucking heartstrings, and then there’s Panopticon, carefully unthreading and pulling them out one by one until I’m a bleeding mess, crying my eyes out. At this rate, I’m going to have no tears left, but I’m always happy to give them to Panopticon. – Thus Spoke The Poppies Bloom For No King (EP) by Panopticon Sindre Nedland // Embers – Almost exactly one year ago, I proclaimed In Vain’s Solemn my Record o’ the Year for 2024. A huge reason for this decision was Sindre Nedland’s stellar vocal performance, and I was crushed to learn shortly thereafter that he passed away after a battle with cancer. To my bittersweet surprise, he had been working on a solo EP, Embers, in his final months, which was recently released posthumously. The melancholic rock is fittingly composed to accentuate Sindre’s voice. As ever, he exhibits excellent vocal range and authentic emotion. His timbre is so rich that it almost sounds like he’s harmonizing with himself at times (“Hold the Night”). The piano is utilized to convey feeling in a way words cannot, like the slick, upbeat tune of “My Melancholy Muse” (which contrasts poignantly with the grim lyrics about fighting cancer) or the gorgeous swan song of final track “And I.” While the music alone is absolutely worth a purchase, I should note that all sales proceeds go to Sindre’s children, which is a very noble cause.2 – Killjoy Embers by Sindre Nedland Unto Others // I Believe in Halloween II – October is far behind us and even further in front, but anyone who’s not a complete jerk knows that Halloween is a state of mind anyway. Gothic hard rockers Unto Others get this, and it shows on the second entry of their I Believe in Halloween EP series. I Believe in Halloween II’s three original tracks cover classic horror topics perfectly suited for Halloween: robo assimilation in the groovy, boppy “Robots,” alien invasion in the vocally-layered and sneakily earwormy “They Came from Space,” and running over little kids with your car on the crossover thrash-inspired “What I Did…”3 The closing punk cover duo of Misfits’ “Halloween” and Ramones’ “Pet Semetary”4 were already Halloween staples in their own rights, and Unto Others capture the originals’ attitudes and ghoulish fun with aplomb. Very campy, uncommonly catchy, I Believe in Halloween II is at once pitch-black-humored and exceptionally easy listening in the way only Unto Others know how to be. Damn the calendar, believe in Halloween, now! – Andy-War-Hall I Believe In Halloween II (24-bit HD audio) by Unto Others Behölder // Tower of the Broken God – From the first booming thud of Andrew Julkowski’s drums, I knew Philly’s epic doom dungeon-crawlers Behölder had a true barn-burner of a single in store for us with Tower of the Broken God. Breaking from Dungeons & Dragons, singer John Yelland (Judicator) and guitarist Carlos Alvarez take on Robert Howard in their lyrical depiction of the classic Conan tale “The Tower of the Elephant.”5 Everything about this single is huge, from the aforementioned monstrous tom grooves to the absolute wall of backing vocals to the guitar riffs and leads, both exotic and beefy. Guided by Yellands’ ever-charismatic voice, Behölder navigates dynamic musical turns that match its narrative ones perfectly, making this the best metal adaptation of Conan the Barbarian since last year’s Nemedian Chronicles. Paired with a solid cover of Savatage’s “The Dungeons Are Calling,” Tower of the Broken God is a heftier morsel of metal goodness than its runtime would suggest. An epic to Behöld. – Andy-War-Hall Tower Of The Broken God by Behölder Pythia // V, Pt. 1: Unhallowed – This past May, Pythia released their first-ever EP in their 18-year history, six years after their last LP dropped. That record, The Solace of Ancient Earth, at first earned a glowing review from the Spongy One, but he later showed contrition with a stark downward score revision. I offer no opinion on whether this was the correct move, as V, Pt. 1: Unhallowed is my first experience with the band, and it has proven a solid introduction. Pythia doesn’t play the campy power metal of Angus McSix nor the cheerful variety of Fellowship. This is a well-executed power metal of the semi-serious, semi-dark variety, featuring plenty of galloping riffs and mid-tempo drum beats. The smattering of piano keys, such as those heard on “Unhallowed” and “A Curse in the Blood,” give off a fantastical feel that falls just short of whimsy. Sophie Dorman’s voice provides the melody, and while she’s not a technically great vocalist, her sound fits in perfectly with what Pythia does. V, Pt. 1: Unhallowed is a narrative-driven record, but it does allow for occasional power metal flourishes such as spontaneous, if short-lived, solos (“Bright Flames,” “A Curse in the Blood”), and its overall darker tone breaks out into the light on the energetically catchy “Muses of the Night.” This record ended up being a nice surprise that got better with each spin, so I don’t see any contrition in my future. – ClarkKent V PT.1: Unhallowed by Pythia Old Nick // The “Where Poison Apples Grow” EP — As the chipmunk voice announces at the start of this EP that “This is where poison apples grow,” Old Nick introduces the whimsy of their latest, a collection of songs that appear to take inspiration from dark fairy tales. The “Where Poison Apples Grow” EP plays a highly energetic style of Old Nick’s signature raw black/synthy metal. Yes, the guitars sound muffled and odd, but the drums, synths, and various other instruments have a punch to them that’ll get your head bobbing and your mouth grinning. Opener “Where Poison Apples Grow” and closer “Tears of a Crying Wolf” take a more synth-forward approach. Both songs feature incredibly infectious synth beats, and “Tears of a Crying Wolf” in particular takes on a more poppy note that, coupled with a howling wolf, took me back to my days spinning Shakira’s She-Wolf. The guitars largely lay a rhythm as the synths play some catchy tunes. Meanwhile, “The Hat Man” and “Apple Dolls of the Lonely Witch” are more riff-forward—and what killer riffs they are. “Apple Dolls” in particular has a standout black ‘n roll riff backed with blast beats and laser-like synths. There’s a bit of catchy folk thrown in the mix as well, with a variety of instruments ranging from the xylophone in “The Hat Man” to the accordion in “Apple Dolls.” This eclectic set of tunes showcase Old Nick at their best and most fun. – ClarkKent Old Nick – The “Where Poison Apples Grow” EP by Old Nick Olde Bard // Sons of the Swamp — Forgoing the synths used by fellow Grime Stone Records colleagues, Olde Bard goes for the jugular with some straight-up, riff-heavy black ‘n roll. They announce their intent immediately on the frenzied riff salad of “We,” which could almost fit in with Fell Omen’s latest record. Yet Olde Bard proves to be no one-trick pony, as they infuse this swampy album with plenty of atmosphere. The remaining songs capture a more stoner and grunge vibe reminiscent of a much rawer Kyuss. While Johnny Ugly’s guitars often dominate, Ghandi’s bass takes charge on “Unwrapping Mummies” and “(Endless) Swamp Cemetery.” This makes for a shockingly groovy experience, but it also helps ground all that reverb from Ugly’s guitars. Hearing how good these instruments sound, including Jonathan’s often galloping blast beats and clacking cymbal taps, makes you wonder how this could be classified as raw. Well, Ugly answers that with some fuzzy, lo-fi, echoing vocals that sound like they’re coming from deep within a tunnel. At times, Olde Bard’s mix sounds incongruous—the leap from black ‘n roll to the haze of stoner rock to the funk of psychedelia—but they play with such confidence and non-stop kinetic energy that it just works. Don’t be afraid—go ahead and jump in the swamp! – ClarkKent Sons of the Swamp by OLDE BARD Sallow Moth // Blue Permutations & Deformity in Ceremony Sallow Moth? Again? Damn right. Mere months after dropping one of my favorite albums of the year, Garry Brents has the audacity to spoil us with a dual drop of EPs described as ‘Mossbane Lantern side quests.’ Rather than just expanding Mossbane’s storytelling by another fifty-four minutes, Blue Permutations and Deformity in Ceremony wander into new sonic terrain without ever losing the idiosyncratic edge that makes Sallow Moth so eccentrically essential. Deformity in Ceremony dives further into brutality (à la Cryptopsy or Aborted) and welds it with the likes of Dead Can Dance’s folksy darkwave, though the style shifts don’t vacillate at the madcap velocities heard on Mossbane Lantern. Blue Permutations, meanwhile, takes the jarring complexity of Akercocke and the progressive dynamism of Edge of Sanity, then marries them with the jazzy electronica of Squarepusher and the psychedelic haze of Tortoise. It would be easy to assume that Sallow Moth carelessly grabs genres and patches them together into a mottled hodgepodge, yet that is a disservice to the intricate fabric being stitched. Once again, Brents entices with his sleight of hand as seemingly unconnected puzzle pieces join together in a show of coherent, oddball derring-do. Twice! – Grin Reaper Blue Permutations by Sallow Moth Deformity in Ceremony by Sallow Moth Crypt Sermon // Saturnian Appendices – Remember the best doom album last year? Apparently, there’s no rest for the wicked, as Crypt Sermon is keeping their newfound momentum going right away. Saturnian Appendices offers four new songs that were cruelly and unusually snubbed during the sessions of The Stygian Rose. Though a bundle of B-sides isn’t always the strongest sell, great bands edit enough to leave some top tier material on the cutting room floor, and you need look no further than the first two tracks for evidence. Not only does “Only Ash and Dust” prove the existence of the mythical beast known as ‘fast doom,’ it’s a crushingly heavy and dramatic tune that rivals the strongest tracks of the year. The second half isn’t as mind-blowing but does feature some ambitious layering, and the band even goes on a fool’s errand trying to make a Mayhem song sound good. And it is a significant improvement! Regardless, the riffs and vocals are gargantuan as usual, and the strength of the first two tracks alone makes this a force to be reckoned with. I hope this signals another magnum opus full-length coming up in the future. – Baguette of Bodom Saturnian Appendices by Crypt Sermon The post EP/Split/Single Roundup of 2025, Part 2 appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 EP/Split/Single Roundup of 2025, Part 2: It’s me again! This will ideally be posted on a much tighter schedule following Part 1, which is just as well, because we’ve gathered some truly wonderful gems for you guys in this… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 day ago

EP/Split/Single Roundup of 2025, Part 1     Ah, this wouldn’t be everyone’s favorite webbed site AMG if we didn’t regularly blaspheme and desecrate the altar of punctuality, yes? Sorry for the remarkable lateness of this round-up, and I can only assume that your collective appetite for our platter of EP’s, Splits and Singles has grown so impossibly ravenous and uncontrollable that seeing this will trigger a feeding frenzy of clicks and views that will crash the site permanently. So here you go, starving creatures, enjoy these patron saints of hidden gems, as I’ve called them, the bite-sized yet potentially most succulent morsels of a band’s repertoire. These liminal ventures offer artists the freedom to experiment, or can be the ideal place to release a catered, well-trimmed selection of Premium Grade-A Jams, free of the threat of bloat that comes with a full-length album. They’re the perfect place to dip your toes into a band’s work, or perhaps the perfect thing to throw on when you only have so much listening time. As always, we’ve labored tirelessly to find the best pieces for you, to celebrate an oft-overlooked but vital part of the metal ecosystem. Of course, thanks to Herr Dolph and his beloved for their assistance with the artwork, patience and impossibly, unbearably good taste.1 Under no circumstances should you miss the second part, coming soon to the world wide web! – Mystikus Hugebeard --- To the Grave // Still – Still extends To the Grave’s latest LP with the vehement clarification that Everyone’s Still A Murderer. It’s about as angry as you might expect, continuing in the band’s latest, particularly br00tal vein of violent deathcore, and settling into the groove. And I do mean groove. I defy you not to headbang/bob, or jerk about in rage to these riffs and breakdowns (“Sawed Off,” “Hunt the Hunters,” “Emesis System”). Likewise, expect to get your face caved in and enjoy it by shorter, more straightforwardly brutal tracks (“Forced Diet Reassignment,” “Show Them the Bodies”). The two are not exactly divorced, of course, and the marrying of extremely pongy snares, whiplash vocal switches, and irresistible crunchiness make all the ugliness incredibly enjoyable. The return of (minimal) guitar soloing bodes well (“Hunt the Hunters,” “DNA (Do Not Amputate)”), providing that sliver of urgent melody that makes the blood and mashed-up corpses go down. Leaning back into horror with real or imagined movie samples works exceptionally well for the real-life horror story To the Grave speak out against, and the very death-metal-coded way they express their rage. A revenge on humankind by chainsaw (“Sawed Off”), rifle (“Hunt the Hunters”), and throat-slitting and skinning taken right out of the slaughterhouse playbook (“Forced Diet Reassignment,” “DNA”). Is this the best thing released this year? No. Does it rewrite deathcore conventions and push boundaries? Also no. But is it a very fun 20 minutes you can aggressively, self-righteously flip out to? Oh absolutely yes. – Thus Spoke Still by To The Grave Pains // Blistering Wrath – I once attended a show in Chicago where Pains was an opener for See You Next Tuesday, and I’ll never forget the guitarist Kubrick-staring the audience down and belting “BANG YOUR FUCKING HEADS” moments before the song2 kicked into gear. That one command has ever been at the core of Pains’ songwriting philosophy, and is especially prescient in Blistering Wrath, Pains’ newest slab of viciously heavy, sludgy death-grind. As always, Pains loves to be succinct: Blistering Wrath barely crests nine minutes across three songs, but is vacuum-packed with enough violence and skull-hollowing riffage to make Cancer Christ blush. Make no mistake, Blistering Wrath is suffocating. Nigh-constant blast-beats only relent to give the guitars space to gnash and pummel, complemented with a filthy veneer of dissonance and one of the most satisfying bass mixes I’ve heard in the genre. Pains make the most of their brevity, eradicating all traces of fat or excess on Blistering Wrath and leaving only laser-focused, vital aggression. I love the mind-melting assault and swaggering riffs of “Shrapnel Dispersion,” and the cogent build-up and release of “Jaws of Malice,” but really you should not insult Blistering Wrath by listening to just one track; you sign a fucking liability waiver for an uninterrupted nine minutes of summary sonic execution. Talk to me when you’re done, if you’re still alive. – Mystikus Hugebeard Blistering Wrath by Pains Higher Walls // No End – Between the shadows of genocide, endless wars, the friction of sociopolitical venom and the weight of intergenerational trauma, living in today’s world can be, frankly, pretty fucking bleak. London hardcore quartet Higher Walls strips back the skin on these themes with their debut EP, No End, transforming the crushing emotional weight of today’s global barbarities into a deluge of pure, unadulterated anger. Channeling the grimy, abrasive atmosphere of Cult Leader and Nails with the sharp, crunchy guitar tones Knocked Loose, No End is a direct and relentless surge of piss and vinegar that doesn’t mince words. The vitriolic anthem “Thorn” is built for destroying small clubs, while “Collateral Damage” encapsulates the atrocities in Gaza with a bombardment of breakneck rhythms, surgical shifts and chaotic stops and starts that will leave the taste of copper in your mouth. Even with the brief reprieve “A Harrowed Wisdom” provides, energy stage-dives out of the speakers with reckless abandon. No End is a short, succinct burst of pure mosh fodder that leaves the listener figuring out how to pick up the pieces after the final breakdown of “So Much, For So Long, For So Little” rings out. Higher Walls is a group with an incredibly bright—albeit violent—future and I can’t wait for a full-length. – Owlswald No End by Higher Walls Cross Bringer // Healismus Aeternus – An international collaboration between members in Belgium, Cyprus, America and Russia, Cross Bringer has crafted one of the best black metal records of the year—and its only an EP. Despite its brevity, Healismus Aeternus is as immersive as it is haunting, bolstered by a production that favors a thick, resonant low end over the genre’s traditional treble-heavy wash. Traveling a similar blackened flight path as Immortal Bird while incorporating the dissonant, foreboding alarms of groups like Deathspell Omega, swarming guitars surround and smother the listener with their anxiety-inducing tones and sparkling, eerie arpeggios. Meanwhile, the syncopated drum rolls and surgical hi-hat hits of Michael Kadnar (Downfall of Gaia) collide with basslines that offer just enough buoyancy to keep the listener from drowning in the intensity. Lina R’s (Predatory Void) vocals are imbued with raw desperation and authentic pain, yet she balances their desolation beautifully with hopeful ethereal croons (“Perpetual Servantship,” “Structural Imbalance”) that provide a much-needed sense of space and lift against the sonic barrage. Diving deep into the ocean of spiritual delusion, Healismus Aeternus is as pulverizing as it is melodically rich—a nightmare-fueled EP that black metal fans can’t afford to miss. – Owlswald Healismus Aeternus by Cross Bringer Carach Angren // The Cult of Kariba – Theatrical, story-driven metal quickens my pulse, grinding other activities to a halt so that I may revel in consummately realized concepts. The lures of King Diamond, Cradle of Filth, and Bal-Sagoth captivate and enthrall, and Carach Angren similarly preys upon me without compunction. The Cult of Kariba continues the story from 2008 debut Lammendam, detailing ritual sacrifice, the resurrection of Kariba, and an undying lust for wengeance. Sonically, the EP reminds me of Septicflesh’s blackened orchestrations, where symphonic elements elegantly embolden Carach Angren’s baroque style. From the gorgeous violin frills in “Draw Blood” and “Venomous 1666” to the industrial-informed rigidity of “Ik Kom Uit Het Graf,” each track brandishes its own identity while coherently blending with one another, expertly distilling opulent compositions into a meticulously crafted twenty-one minutes. Quiet since 2020, Carach Angren slowly dwindled from my listening rotation until The Cult of Kariba reminded me just how ghoulishly great they are, leaving me flush with anticipation for what comes next. – Grin Reaper The Cult of Kariba by Carach Angren Maladie // Symptoms V – Saxophobes beware, Maladie’s latest EP packs enough sultry horn into its blackened noirscape to goad listeners into prowling for dames in smoky nightclubs. The fifth entry in their EP series, Symptoms V simmers with impassioned intensity as Maladie explores bleak themes across tracks like “The Implacability of Time” and “Black Hole Weight in Our Hearts.” Grim inevitability meshes with noir’s cynical, shadowy aesthetics, prodding at raw nerves with dissonant twangs, furious howls, and one of the most emotive sax performances I’ve heard in years. The German outfit’s avant-garde stylings writhe across five tracks, constructing an entrancing half hour of progressive structures that seamlessly swing between brooding atmospheres and naked ferocity, highlighting Symptom V’s clever composition. If you find yourself seeking a quick hit of metal to thwart the din of relentless holiday racket and you’re not afraid of a little unsafe sax, give Maladie a spin and succumb to their infectious swagger.3 – Grin Reaper Symptoms V by Maladie Hanging Garden // The Unending – One of the best releases of the year, The Unending, might also be Hanging Garden’s best work to date. I wish it were longer, but if you write a melodic masterpiece, who am I to complain? The back and forth vocals between Toni Hatakka and Riikka Hatakka are beautiful to behold. Their soaring melodies on “To Seize the Night” reach an emotional crescendo that is capped off by a lovely melodic guitar lead. As great as Toni Hatakka’s cleans are, his growls are just as impressive. With these elements of cleans, growls, and fetching melodies, Hanging Garden do their best impression of Amorphis on “Morgan’s Trail,” one of the year’s best songs. That killer melody just bursts from my chest like a newly-hatched xenomorph, and it’s a contagion that can spread just as quickly—and violently—as it rips through the Avengers in the latest Marvel crossover comic. The finale, “The First Sunrise,” is a poetic piece of gothic metal, with some lovely lyrics amplified by Riikka’s melodic lilt. Combined with deathly growls, the song highlights nature’s harshness lurking just beneath its beauty. The Unending is a staggering, bite-sized accomplishment. – ClarkKent The Unending by Hanging Garden Grand Cadaver // The Rot Beneath – Since their debut in 2021, this supergroup, composed of members from Dark Tranquillity and Katatonia, has released an LP every two years until 2025, when they released this EP instead. But what a glorious EP it is. It contains four tracks and fifteen minutes of tightly-written, catchy swedeath that’s in strong competition with Puteraeon for some of the best of the year. As it opens on “Blood-Red Banner” with the HM-2 guitar lead, you might be excused for thinking you’ve been transported to Character-era Dark Tranquillity, but as the song develops it takes on its own character. The anchor is “The Rot Beneath,” featuring a killer melodic lead that’s sure to worm its way into your brain. This one absolutely slays and might be the best thing these guys have ever written. However, all the songs hit hard thanks to some absolute pummeling on the kit courtesy of Daniel Liljekvist, not to mention Mikael Stanne’s distinct vocals and the down n’ dirty guitar riffs. If you’re not careful, The Rot Beneath might demolish you like Anthony Joshua’s right hook demolished Jake Paul’s jaw, but Grand Cadaver also mix it up with a more moody finale in “Darkened Apathy.” While it’s a shame they didn’t put out a full-length album, this morsel will more than whet your appetite for whatever’s next. – ClarkKent The Rot Beneath by Grand Cadaver Curta’n Wall // Georgie and the Dragon – When I first heard Curta’n Wall’s highly-praised Siege Ubsessed!, I didn’t get it. Now on their fifth EP, Georgie and the Dragon, I finally see the charm. This is raw, lo-fi music with garbled guitars, tinny drums, and vocals that sound like your grandma singing through her tracheostomy tube—but man if it isn’t a ton of fun. Curta’n Wall keeps up a high dose of energy thanks to a combination of consistent mid-paced drumming, bouncy bass lines, and fuzzy tremolos. Yet it is the synths and folky flutes that steal the show. Their hooky nature makes each song such a fun, goofy listen—the bugle to open the rollicking “norman keep” introduces us to an especially silly place, one like Camelot. As much fun as the preceding songs are, “triple flail” is where the record finds its true footing with its inspired ukulele/mandolin-sounding arpeggios along with a nifty beat on some steel drums.4 Meanwhile, finale “georgie and the dragon” is downright triumphant, with angelic choral chanting that builds into an amazing synth riff. It’s the kind of tune that will inspire you to go out and slay a dragon. If you’re looking for some catchy, goofy fun, Curta’n Wall has got you covered. – ClarkKent Curta’n Wall – georgie and the dragon by Curta’n Wall The post EP/Split/Single Roundup of 2025, Part 1 appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 EP/Split/Single Roundup of 2025, Part 1:  


 





Ah, this wouldn’t be everyone’s favorite webbed site AMG if we didn’t regularly blaspheme and desecrate the altar of punctuality, yes? Sorry for the remarkable lateness of… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 day ago

Green Carnation – A Dark Poem Part II: Sanguis Review A little less than a year ago, Green Carnation dropped Part I of their A Dark Poem trilogy, The Shores of Melancholia. That captivating record sets the stage for the band’s ambitious Ophelia-inspired epic. While I know many loved The Shores of Melancholia as it stood (which is fair), I had a difficult time treating it that way, knowing it was meant to be a full experience. Thankfully, I can say that The Shores of Melancholia works even more now that I’ve heard A Dark Poem Part II: Sanguis. The Shores of Melancholia is a fantastic introduction to the unbearable depression, frustration, guilt, and sorrow that envelop Sanguis and its impeccably concise, thirty-seven-minute runtime. So, I’ll admit, individual albums should have stand-alone qualities. That way, listeners can absorb a record in the moment and in the entire experience when they have time for such a thing. We all know Part I mostly achieved that, but what about Part II? I can thankfully say that Green Carnation has achieved both. Sanguis is a record you can put on repeat with no problems, while also setting both parts on in succession. Everything that was set up in the first album is cranked to eleven in the sequel. And not just in songwriting, riffage, aggression, or attitude. This is still Green Carnation, after all. The sad moments I felt with the first album are far more intense in the sequel. The riffs are harder than most of the songs the band has ever written, and the slower pieces have the emotion of a broken-hearted child. This is exactly what much of the lyrical content focuses on. If there ever was A Dark Poem by Green Carnation, Sanguis is it. A Dark Poem, Part II: Sanguis by Green Carnation The self-titled opener is simply one of the most epic on the disc. It picks up from where the previous album left off and slingshots you into a powerful new direction. Incorporating spacey effects with a headbangable groove and a soaring, melodic chorus, this nine-minute beauty sets the stage for what’s to come. When the rasps arrive at the halfway mark, the desperation in the clean vocals intensifies, bringing along that good ole Green Carnation sadness. But the moment it all seems to come to an end, it transitions once more, splashing every known color on the canvas as it builds, drawing all manner of moods through its dripping, streaking, and smattering visualizations. This track alone is worth the journey into Sanguis, but it’s only the beginning. We take a step back into the warm embrace of calmness with the follow-up track, “Loneliness Untold, Loneliness Unfold.” Ripped straight from the cutting floor of Acoustic Verses, this gorgeous track is made even more special because it features Stein Roger Sordal on vocals. And, by god, can he stand up straight next to the mighty Kjetil Nordhus. The closer, “Lunar Tale,” is another in the same vein. Simplistic in approach (that’s really what makes it so powerful), it uses soft vocals and breathy flute to zap any happiness you might have in your current situation, and leave you battered, broken, and without hope. Another track worth mentioning explores some sounds of Green Carnation’s past. “Fire in Ice” is a nifty compilation of the band’s current era, smashed together with the rocking character of A Blessing in Disguise. Opening with some soothing clean guitars, it alternates between a classic groove and a bass/drum-led lull. Then, it erupts into a kickass riff that rocks the socks off my dick. This song incorporates the ferocity and beauty of Green Carnation better than any on the album. Outside of some goofy progginess on the back half of “Sweet to the Point of Bitter,” Sanguis is arguably damn-near perfect. The opener conjures fist-pumping anger at the sky; “Fire in Ice” lets you stomp down everything that stands in your way; and “Loneliness Untold, Loneliness Unfold”1 is the emotional breakdown song we’ve needed all year. Toss in a handsomely dynamic master that lets even the smallest of morsels of melancholy rise to the surface, and you have something that is simply breathtaking for the band and the genre. If Green Carnation has never resonated with you, there is nothing I can do to change your mind. For those who need something in these trying times to bolster their spirits or tear them apart (if only for a moment to reset), Sanguis is here for you. --- Rating: 4.5/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: Season of Mist Websites: greencarnationsom.bandcamp.com | facebook.com/greencarnationnorway Releases Worldwide: April 3rd, 2026 The post Green Carnation – A Dark Poem Part II: Sanguis Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Green Carnation – A Dark Poem Part II: Sanguis Review: A little less than a year ago, Green Carnation dropped Part I of their A Dark Poem trilogy, The Shores of Melancholia. That captivating record sets the stage for the… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 day ago

SolNegre – Anthems for the Grand Collapse Review Just off Spain’s Mediterranean coast lie the Balearic Islands. Among the approximately 1.2 million island residents is a cadre of musicians who appear to have played together in a variety of projects for some time.1 SolNegre comprises four of these musicians along with a handful of guest contributors. Based on the photos of the beautiful sandy beaches and clear blue water, you might think these guys would play a cheerful genre like Beach Boys-core. Yet, even the beach life must have its woes because what SolNegre deliver is a slab of melancholic doom that has more in common with My Dying Bride or Saturnus than any band playing songs about Piña coladas. Just the sight of their apocalyptic album title, Anthems for the Grand Collapse, makes me want to soak in one of those lovely beaches to rinse off the bleakness. Let’s dive in and see how well these island dwellers do the sadboi. While the intro for opener, “The Axiom – Song for the Inert Part II,”2 reveals SolNegre’s flair for using synths to create atmosphere, the meat of the song establishes their mix of crushing My Dying Bride riffs and growls with the more energetic death/doom of Novembers Doom. A hooky melodic lead wends its way throughout, culminating in an ambitious solo that takes the lead to new levels. The incredibly catchy follow-up, “The Hollow Inside,” includes a chorus that potentially has appeal for a mainstream audience, even if the track goes off in decidedly non-mainstream directions. The flip side to the death/doom is an Ennui-level funeral doom tune that casts a pall over the already dour mood (“For All that Could Have Been”). SolNegre play sorrowful tunes in an impressively varied number of ways. The Axiom – Song for the Inert Part 2 by SolNegre The band members’ strong chemistry shows in their talent and cohesiveness. Ûkh lays down a powerful vocal performance with some muscular death growls. He adds heft and punch alongside an impressively bass-heavy guitar attack. Gebre proves to be the glue that adheres the record together. His deep, chugging bass features on nearly every track, and he also gets to play a nifty jazz solo midway through “The Hollow Within.” Guest contributors add some varied character throughout, such as a solo from Mike Le Rosetti that comprises almost the entire back half of “The Axiom” and some cleans from Pedro Inglés during the jazzy segue on “The Hollow Within.” SolNegre hands the reins over to recurring guest singer Gadea es Ineseta3 and violinist Núria Luis on the remarkably lovely “In the Stillness of the Womb.” Though it skews more soft rock than extreme metal, it features such poignant and affecting performances from Ineseta and Luis that it feels right at home among these anthems to a grand collapse. 20260102_224403 A few iffy songwriting decisions do keep Anthems for the Grand Collapse from greatness, however. For one, SolNegre struggle with coherent lyrics on some tracks. This is especially problematic on “The Hollow Within,” where an awkward attempt at a metaphor combining loneliness, water, and drowning leads to the laughably bad line, “A room without doors or windows / Knowing how to swim is wise.” It’s a sore part of an otherwise terrific song. Further, the hot and cold pacing creates a stuttering feel throughout the record, with a few tunes creeping too slowly and others creeping on a bit too long. “For All That Could Have Been” in particular sags in the middle of the album. Individually, the songs are good to great, but transitions between them can be jarring. Next time you want to balance out your bright and cheery beach vacation with some downer music, you should pack SolNegre’s Anthems for the Grand Collapse. It’s sure to have you and your family looking to drown out your loneliness and sorrows in the warm, beautiful waters lapping at your toes. This has proven to be a solid sophomore effort from the Balearic Islands. I love to hear the passion on display, and even where the band shows some warts, it only makes the record all the more endearing. I hope those island beaches don’t keep these guys happy and occupied for too long so they can put out another record sooner rather than later. --- Rating: 3.5/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Meuse Music Websites: Bandcamp | Facebook | Official Site Releases Worldwide: April 3rd, 2026 The post SolNegre – Anthems for the Grand Collapse Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 SolNegre – Anthems for the Grand Collapse Review: Just off Spain’s Mediterranean coast lie the Balearic Islands. Among the approximately 1.2 million island residents is a cadre of musicians who appear to have played together… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

2 days ago

Këkht Aräkh – Morning Star Review Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait? On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist. Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static. One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection. Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.  --- Rating: 2.5/5.0 DR: N/A | Format Reviewed: Stream Label: Sacred Bones Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh Releases Worldwide: March 27th, 2026 The post Këkht Aräkh – Morning Star Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Këkht Aräkh – Morning Star Review: Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

2 days ago

Chalice – Divine Spear Review Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears! Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1 Divine Spear by Chalice Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4 Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results. In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough. --- Rating: Good! DR: 10 | Format Reviewed: 320 kbps mp3 Label: Dying Victims Productions Websites: Bandcamp | Facebook Releases Worldwide: February 27th, 2026 The post Chalice – Divine Spear Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Chalice – Divine Spear Review: Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

2 days ago

Void of Light – Asymmetries Review Does Void of Light refer to a source of luminescence, or is it shorthand for its total absence? The group might know something about the latter, hailing as they do from the northerly latitude of Glasgow, Scotland. Their musical medium—a sludgy, atmospheric post-metal—also reflects a dichotomous embodiment of light and dark: often crushingly heavy and thematically bleak, but also upliftingly melodic. Asymmetries—another nod to duality and imbalance—is a debut four years in the making, drawing together the fragments of brutality and reflective ambience from the preceding EPs into a bold statement on who Void of Light are. And decisive that statement certainly is. Void of Light’s approach to post-metal is rich and dynamic, layering leaden riffing, melancholic melody, and flexible tempos around one another to augment the music’s ability to captivate. Strikingly, flatteringly akin to Deadly Carnage in the expert intermingling of delicacy and harshness (“Still the Night Skies”) and an ever-evolving rhythm, the album flows gracefully. Dips into The Ocean of steady, progressive builds, tangles with LLNN-levels of skull-bashing heaviness (“Mirrorings”), and even flirtation with black metal (“Ends,” “Mirrorings”) compliment a nuanced, emotional soundscape with heart and bite. Asymmetries by Void of Light The magnetism of Asymmetries is felt gradually and with progressive strength, like approaching a planet’s gravitational field. Things begin almost understatedly in “The Passing Hours,” with a loose, modulated melody and a steady onward crush that only hints at the depths to come. That is, before the final act gives the game away when soft singing gives way to a jubilant guitar solo over the rush of blackened percussion: a dramatic backdrop for the final reprise. These soaring, energetic guitar lines weave in and out across the record, communicating joy and bittersweet blueness as they variously dance (“Silver Mask,” “Ends”) and float (“The Passing Hours,” “Still the Night Skies”) over the comparative bluntness. Gentle (“The Passing Hours,” “Ends”) and impassioned (“Silver Mask,” “Still the Night Skies,” “Mirrorings”) cleans add still more layers of emotion as they move in pitch and volume with or in brilliant opposition to the instrumentation, and equally ardent screams (“Silver Mask,” “Still the Night Skies”). None of this would be half as stirring, however, were it not wrapped around the multidimensional rhythmic core that spills over from the percussion to riffs and vocals alike. Rippling fills and agile rolls thread texture upon which singing floats or screams rain down (“The Passing Hours,” “Mirrorings”). Frequent slides into snappy off-beats (“Silver Mask,” “Ends”) and impressively rich, cascading blackened tirades (“Ends,” “Still the Night Skies,” “Mirrorings”)—the kind you’d expect from Panopticon—intensify already incendiary peaks where aforementioned guitars dance or soar. Asymmetries, as a name, can only be used complimentarily here; perhaps the worst that could be said is that the album might get even better as it progresses. If I had to be incredibly harsh, I would point to the oft-repeated pattern of songs lapsing midway into stripped-back plucking and singing before the reprise of heaviness. Even then, songs don’t sound the same, and the formula is an effective conduit for tension and emotion, formula though it may be. Really, though, Asymmetries feels ideally formed and structured to deliver the maximum impact as it is: the rhythms growing more fluid and restless, the layers of sung and screamed vocals more multiplicitous, and the returning spaces of poignant ambience serving to gradually dial up the pathos as well as the more tangible force of the riffs, drumbeats, and roars. If the ascendant singing in the final act of “Silver Mask” lifts you up, wait until “Still the Night Skies,” and the cascading multitracking on “Mirrorings”. If “The Passing Hours” jolts you into attention with its final forcefulness, wait until the sudden savagery that closes “Ends” and then how the following songs stack this ardour with that singing, and the consistently gorgeous waves of clear and hazy melody. Asymmetries’ power was not instantly obvious, but with every listen its grip grew tighter and the sky around it lost its colours as they were drawn into the void. Void of Light effectively communicate a dichotomy between light and shadow in their sad, uplifting, harsh, fragile debut. And if this is where they’re starting from, then heads, hearts, and score-safety-counters everywhere will need to watch out in the future. --- Rating: Great! DR: 7 | Format Reviewed: 320 kbps mp3 Label: Ripcord Records Websites: Bandcamp | Facebook Releases Worldwide: April 3rd, 2026 The post Void of Light – Asymmetries Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Void of Light – Asymmetries Review: Does Void of Light refer to a source of luminescence, or is it shorthand for its total absence? The group might know something about the latter, hailing as they do from the northerly… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

3 days ago

Zerre – Rotting on a Golden Throne Review This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of my thrash bingo card shows that, by the end of the year, at least half of the “Big 4”1 will have dropped new records, with many of the honorable-mention heavyweights joining the fray. While we wait for the next boot to drop, we turn our attention to Würzburg, Germany’s Zerre, one of modern thrash’s promising upstarts. Their debut, Scorched Souls, was a Metallica-meets-Municipal Waste slab of old-school aggression loaded with crossover, beer-chugging grooves. Taking the foundations of their debut, Rotting on a Golden Throne finds Zerre tearing through nine tracks with a sharpened sense of purpose—more aggressive, more political, and more sadistic than its predecessor. And let me tell you, it delivers in spades. I hope you’re thirsty for some tallboys, because thrash is still on the menu. Forging their songwriting into material that’s meaner, tighter, and far more assured, Rotting on a Golden Throne shines with the violently tempered alloy of classic thrash and modern crossover’s street-level grit that never lets its energy wane. Heavily steeped in Municipal Waste’s party chaos and …And Justice for All’s rapid, surgical picking, Zerre also imbues the album with Power Trip’s coarseness, Anthrax’s stomping swagger (“Killing Taste”) and the frantic wails of Slayer (“No Alibi,” “Deception of the Weak”). Riffs hit in relentless waves, with raw aggression spilling over into massive, replay-ready grooves, while strategically placed interludes are woven directly into the album’s 40-minute runtime rather than sliced off as filler (“Mental Vacation,” “Rotting on a Golden Throne”). This smart choice gives Rotting on a Golden Throne a more cohesive flow and breaks up the record’s accelerated attack just enough to keep things elastic. Zerre delivers it all seamlessly, with a dialed‑up piss‑and‑vinegar attitude that hits you right between the eyes. Rotting on a Golden Throne by Zerre Neck-snapping riffs abound on Rotting on a Golden Throne, driven by Zerre’s full-throttle dual axe attack of Dominik Bertelt and Rocco Lepore. The two throw their weight around effortlessly with hyperspeed picking mixed with trilling, power cord syncopations, whammy dives, and a metric ton of technical solos. After the “Battery”-inspired acoustic intro, “Pigs will be Pigs” fires the first shot with blistering runs that give way to a soaring melodic solo, while “Deception of the Weak” counters with sharp twin harmonies and nimble hammer‑ons and pull‑offs. Even the slower approach of “Concrete Hell” packs a punch and “Tin God” seals the deal with a squealing, tapping frenzy that illustrates how purposefully Zerre uses solos—coupled with keen songwriting—to drive the record’s peaks. The Nordic folk lick stretching out into intertwining leads in “Mental Vacation” is also a pleasant surprise, as is the power metal riff in the self-titled track, proving that when these guys branch out of their comfort zone, they do so tastefully and with restraint rather than veering off into left field. Vocalist Nick Ziska2 brings a feral edge to Zerre’s sound. His performance swings between Tom Araya‑styled screams (“No Alibi”) and a Riley Gale-esque snarling mid‑range, anchoring Rotting on a Golden Throne’s songs with a serrated bark that sounds abrasive and weathered, yet still clear enough to slice through the chaos. Zerre’s songwriting leans heavily on gang vocals, and while they’re a clear fallback move, they inject a sense of rowdy fun that magnifies Ziska’s lyrics and makes the choruses instantly hooky. Ziska takes the lead, and the rest of the crew pile in behind him, creating shout-along moments that demand listener participation. Lyrically, Rotting on a Golden Throne sticks to thrash’s customary grievances—anti-police sentiment, prison system disdain and broad political ire—but these tropes feel less like a crutch and more like part of the total package, reinforcing the album’s scrappy, kinetic energy. Talking about this album in the staff lounge, our resident Reaper categorized Rotting on a Golden Throne as one of the best straight-up thrash records of the year so far, and I couldn’t agree more. Detractors may point to Zerre’s stylistic touchstones as a mere recombination of established genre language, and while they wouldn’t be wrong, I don’t care. Zerre has dropped an album that embodies everything I want my thrash to be. Rotting on a Golden Throne is bursting with energy, aggression, groove, and a sense of unfiltered fun. It’s a combination that’s hard to find in today’s thrash metal landscape, and it’s one that’s worth raising a beer for. --- Rating: Great! DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Dying Victims Productions Websites: dyingvictimsproductions.bandcamp.com/album/rotting-on-a-golden-throne | facebook.com/zerre.thrash Releases Worldwide: March 27th, 2026 The post Zerre – Rotting on a Golden Throne Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Zerre – Rotting on a Golden Throne Review: This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

3 days ago

Geoff Tate Announces Upcoming Prequel to Legendary Concept Album Operation: Mindcrime Former Queensrÿche vocalist Geoff Tate (pronounced Gee-Off Tot-Tah) announced that his latest release will be a prequel to Queensrÿche’s iconic 1988 concept album, Operation: Mindcrime. The cleverly titled Operation: Mindcrime III will release this summer, and according to Tate, it will focus on the ever-mysterious Dr. X. In the album press release materials, Tate notes that “He really wanted to get into that character’s headspace and explore how the man’s desperate quest to remain relevant and stick it to his former associates leads him to make incredibly poor life decisions that ultimately destroy his entire legacy and taint his greatest success.” Operation: Mindcrime III is said to be the “final” chapter of the story and Tate discussed who he thought the market was for another Mindcrime album in 2026. “Basically, if you hated the classic Queensrÿche material, you can buy Operation: Mindcrime III without hesitation, since it won’t remind you of that stuff at all.” --- HEADLINES: Deicide frontman Glenn Benton announced as the new spokesman for Particle Forehead Cream for Men. Polymarket predicts Wilderun will win the 2026 Album o’ the Year at Angrymetalguy.com despite not releasing anything since 2022. The post Geoff Tate Announces Upcoming Prequel to Legendary Concept Album Operation: Mindcrime appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Geoff Tate Announces Upcoming Prequel to Legendary Concept Album Operation: Mindcrime: Former Queensrÿche vocalist Geoff Tate (pronounced Gee-Off Tot-Tah) announced that his latest release will be a prequel to Queensrÿche’s… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

3 days ago

U.S Military Examines the Lethality of Death Metal The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of their experimental combat-focused AI program after it attempted to weaponize former Cannibal Corpse and current Six Feet Under vocalist Chris Barnes’ pig squeals into a lethal sound beam. Had the AI program successfully executed this plan for a terrifying new weapons system, experts theorize it could have resulted in a global extinction-level event. An experienced combat trauma surgeon who was willing to speak off the record explained that humans aren’t equipped physiologically to process these kinds of high-intensity, abrasive sounds, and even limited exposure could cause brain damage, organ failure, erectile dysfunction, Pygmalionism and the condition known as Hammer Smashed Ear Canal Syndrome. Upon learning that his vocals were being used in a top-secret weapons program without his knowledge or legal consent, Chris Barnes remarked, “This should end the fucking debate over who’s the better Cannibal Corpse vocalist, right? Fuck yeah, eat it Corpsefisher! EEEEEEEEEEEEEEEE!” --- Headlines: Metallica’s residency in the Las Vegas Sphere cut short by the requirement that the 24 agreed-upon shows be performed in the same decade. Arch Enemy announces new vocalist Pippa Emeritus III The post U.S Military Examines the Lethality of Death Metal appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 U.S Military Examines the Lethality of Death Metal: The U.S. Military’s Defense Advanced Research Project Agency (DARPA) was forced to perform an emergency shutdown of their experimental combat-focused AI program after it… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

4 days ago

Life After Megadeth: Dave Mustaine Puts His Nose to the Grindstone Thrash metal legend Dave Mustaine isn’t done with music altogether after winding down Megadeth earlier this year. In a new press release, Dave revealed that he’s poised to launch a brutal deathgrind project called Dave’s Beef Emporium. The debut Beef’s Back on the Menu (It Never Left) will feature 86 tracks, each a 30-second broadside on someone Dave has an issue with. Titles announced so far include: “Lars Fucks Danish Butter Cookies” “They’re All My Riffs, James” “Kirk Ain’t Fit to Smell My Hits” “72 Seasons is 64 Too Many” “My Last Words (About Dave Ellefson)” “Kerry King is a Cat Fancier” “Rob Dukes Has a Weird Beard” Mustaine stated in a recent interview that he’s open to working with whoever is still willing to work with him. Dave also seemed optimistic that he would have a wealth of ideas and inspiration to draw upon for future releases. Beef’s Back on the Menu (It Never Left) was produced and mixed by Dave’s Life Coach and will be released via Dave’s own MegaDave MegaMusic label. Pray you aren’t a target. --- HEADLINES: Iron Maiden’s Senjutsu once again misses a spot in the top 100 Maiden albums in recent rankings. Behemoth now requires a 3-year subscription to NergalWorld.com blog to buy band merchandise. The post Life After Megadeth: Dave Mustaine Puts His Nose to the Grindstone appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Life After Megadeth: Dave Mustaine Puts His Nose to the Grindstone: Thrash metal legend Dave Mustaine isn’t done with music altogether after winding down Megadeth earlier this year. In a new press release, Dave revealed that… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

4 days ago

Ain Sof Aur – Theos-Vel-Samael Review Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You wouldn’t be entirely wrong—in general, or in the particular case of Ain Sof Aur. Stereotypes exist for a reason. But Theos-Vel-Samael—serves as a vessel not only for a ceremonial invocation of wisdom-bringing darkness,1 but also the interaction between musical identity and ideology. Our assumptions about the sound and style of heavy music associated with certain fringe spiritualities are a strange mirror of the demonisation heaped upon metal overall in mainstream media from the Satanic Panic onwards, though informed at least through experience and some degree of appreciation rather than ignorance and distaste. These ideas break down when we turn to extreme metal, where Ain Sof Aur and others like them sit: a sphere defined by pushing boundaries of complexity, intensity, and heaviness—itself a natural extension of the wider genre’s core trait of subversion. Theos-Vel-Samael is an extreme metal album expressing mysticisms at least adjacent to Luciferianism, and using any preconceived notion of these ideologies obscures the music’s actuality. Theos-Vel-Samael prompts me to wax philosophical by its very essence. Its 45-minute runtime is divided into three movements simply labelled “I,” “II,” and “III”—though Ain Sof Aur explain that each respectively embody the progressive stages of the invocation: “vision,” “force,” and “action.” This itself is a kind of stereotype, and one could speculate on whether the steady contraction of song length across the record is saying anything about the significance placed on or effort required in each of “vision,” “force,” and “action”. The way these pieces enact their theme has more in common with a wonky, progressive strain of technical death metal than it does a diabolical, vehemently evil form of black metal; in many ways, it is weirdly reminiscent of Cryptic Shift in a Veilburner kind of setting, by way of Altar of the Horned God. “I” subverted my expectations entirely with its overwhelmingly exuberant tone—albeit in an odd key and time signature for much of the time—and “II” with lengthy passages of almost mellow atmospheric strumming. This isn’t a criticism but rather the point: The literal incantations that comprise the lyrics, and the artists’ say-so, are the tethers to the occult and so the almost Hathian melodeath charges and noodling amidst croaks and roars are to be taken at face value. Theos-Vel-Samael by AIN SOF AUR The other reason Theos-Vel-Samael causes me to wax philosophical is that it leaves me with strangely little else to say. There is much to appreciate: M.H.S’ gargling roars; L.B.W’s vivacious drum performance; the aforementioned creative approach to marrying discordant malice and melodiousness in such experimental, otherwise malevolent metal; Ain Sof Aur can turn a melodic phrase (“I,” “III”) and dramatic flourish (“II,” “III”). Yet it all feels somehow unfocused, and so less impactful. Moments of sanguinity are somehow bled dry—sometimes through repetition, but largely simply because they fade into the surrounding fluctuations of dissonance and harmony, choppy technical tempos, and the equal minimalism of pared-back stalks and full-speed double-bass (“I” is the worst offender here). “III” is possibly the strongest of the three tracks, arguably because of its superlative brevity2 condenses if not excises the detours from what is a solid, decisively unsettling extreme death metal composition. Indeed, taken piecemeal, Theos-Vel-Samael can captivate and swallow (just after “I”‘s midpoint, the minutes just before “II”s, “III”‘s closing act), but as a whole, it functions more as an enjoyably creepy, if hazily remembered, background soundscape. And yet what is Ain Sof Aur’s objective with Theos-Vel-Samael other than to evoke some esoteric ceremony with their interpretive music? Should the freeform nature of this expression surprise or disappoint? Was I ever going to put one of these songs on a workout playlist? The writing could use some editing to be sure, but the musical elements themselves are stellar—everything from the eerie ambience to the most violent technicality is executed assertively. I enjoy my experience of the rite even if it doesn’t convert me. To be brief—for the first time in this review—don’t let an intimidating subgenre label, theme, or I, Voidhanger’s reputation colour your feelings about Theos-Vel-Samael. It’s creepy and unusual, but with a firm grip on more familiar death metal stylings. It doesn’t waste (much) time meandering, but it does have room to breathe. You could do far worse when dabbling in the occult. --- Rating: Good DR: 7 | Format Reviewed: 256 kbps mp3 Label: I, Voidhanger Websites: Bandcamp | Facebook Releases Worldwide: March 27th, 2026 The post Ain Sof Aur – Theos-Vel-Samael Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Ain Sof Aur – Theos-Vel-Samael Review: Be honest: what do you expect experimental blackened death metal steeped in Left-Hand-Path Occultism to sound like? Dissonant? Oppressively heavy? Rhythmically complex and meandering? You… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

5 days ago

Intoxicated – The Dome Review Florida death thrash dealers Intoxicated came down the promo sump with a nest of surprises I didn’t anticipate. Learning that once again I selected promo from a forgotten 90s band shocked me. Finding out that not one but two of Intoxicated’s members also serve in known party rock entity Andrew W.K. bamboozled me even more. These little factoids all came to me long after I had imbibed deeply of their upcoming third LP The Dome, which sounds fresher and far more vicarious than what I might’ve expected otherwise. But can it compete with a modern thrash scene desperate to revitalize the glory days of olde? If there’s one thing that Intoxicated do well, it’s finding and exploiting their references. Riffs sourced from the bloodied piles amassed by the likes of Destruction, Death Angel, Dark Angel, and Sodom abound, all laced with the deathly wiles of Death to give them extra oomph.1 Anthrax-esque drumming doubles down on speed and extremity as The Dome gallops and blasts through its lean 30-minute runtime.2 A lightly proggy songwriting bent, again reminiscent of Death’s more sophisticated fare, gives The Dome a bit more variety than your average thrash revival record. Nonetheless, Intoxicated feels most at home brawling at bars and swaggering down back alleys in head-to-toe leather. The Dome by Intoxicated When they double down on sleaze and hooks, Intoxicated shine brightest. High-octane cuts like “Carved in Stone,” “The Dome,” “War Club,” and “Drowning the Weak” ooze vitriol and gush piss and vinegar all over the place, making for one nasty arena in which to open up pits and push around posers. Sole original member Erik Payne’s raspy barks and serrated growls feel right at home in this pocket, spewing matter-of-fact verses in the classic thrash tradition with a consistency and effectiveness that belies his age (“It’s Dead”). While that vocal talent provides The Dome with a significant measure of personality, it’s Erik’s and John Sutton’s riffs/leads and Mike Radford’s multifaceted drumming that steal the show, routinely shoving great ideas and weaving durable stitching throughout remarkably tight runtimes (“Shifted Cross” and “Rake the Grate,” for example, feel far more substantial and meaty than their featherweight sub-3-minute lengths suggest). There’s a lot to love in The Dome, but there’s also a lot of potential to go further. On the production front, The Dome is very clean and modern, which in some ways detracts from Intoxicated’s brutish delivery (though its clarity makes the drum tones stand out in fantastic fashion). Additionally, while you can hear Gregg Robert’s bass burbling underneath the surface, it lacks the prominence it needs for listeners to reliably nail down what unholy magic he’s doing with it. As far as songwriting goes, The Dome is quite strong but songs that lack punch instantly get lost in the sauce. In some cases, that’s the result of a lack of unique riffs or interesting ideas (“Sever the Strings,” “Tighten Your Eyes”). In others, it’s nothing more than a pacing or tracklist placing issue where The Dome’s momentum is slightly disrupted or impeded (“Unescaped”). And of course, the fact that multiple writers could so readily identify reference points from a number of classic acts speaks to the level of influence they had on Intoxicated’s current sound, which, for some, might make The Dome seem unoriginal or derivative. Even so, The Dome is a wholly enjoyable and easily repeatable record by an unsung act hailing from the 90s era of thrash and death. The references they pull from are good company to keep, so if some of the material here borders on worship, at least Intoxicated have good taste. As the dust and rubble settle, The Dome is a fun, raucous, and feisty little gem, and it would be a shame for it to go unnoticed. --- Rating: Good DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Redefining Darkness Records Websites: intoxicatedflorida.bandcamp.com | intoxicatedfl.com | facebook.com/pg/intoxicatedFL Releases Worldwide: March 27th, 2026 The post Intoxicated – The Dome Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Intoxicated – The Dome Review: Florida death thrash dealers Intoxicated came down the promo sump with a nest of surprises I didn’t anticipate. Learning that once again I selected promo from a forgotten 90s band shocked me.… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

5 days ago

Mother Crone – Embrace the Death Review Lately, I’ve been listening to quite a bit of depressing music. Between Meadowlands, Qroba, and Exequiae, the themes of melancholy, death, and despair have been having quite the run ’round these parts. So it figures my review of the day is Embrace the Death—why turn away from a theme that’s doing well? This is the sophomore full-length release from U.S.-based Mother Crone, over a decade after their debut Awakening, and, if my research is accurate, with a completely different lineup. The topic of the day is clear, and Mother Crone approach it with a blend of doom, stoner, progressive, and groove metal. It’s always exciting to see what a band can do with a refreshed vision, lineup, and style, and apparently, grim topics are strong performers these days. How do Mother Crone compare to their contemporaries? That my depend on how we define “contemporaries;” while Mother Crone share subject matter with the aforementioned groups, stylistically they have more in common with their own stated influences, Pink Floyd, Pantera, and Alcest (among others). As mentioned earlier, the sound on Embrace the Death is fairly well-rooted in stoner metal, with elements of doom, progressive, and groove naturally creeping in to fit the topic. Guitarists Edoardo Curatolo and Joe Frothingham (also vocals) oscillate between light, introspective play and a burlier, more aggressive approach, and Frothingham’s singing is the same. A lot of the album’s stoner and doom metal leanings actually owe to bassist Preston Wilson and drummer Charlier Romano, whose slower, grimier playing grounds the music in a progressive sort of styling. Together, the result is something at times aggressive, at times introspective, and always atmospheric in some way. Embrace the Death by Mother Crone But the best parts of “Embrace the Death” are unquestionably the album’s quieter moments, where Mother Crone embraces the doom and the atmosphere fully. The title track is the best example; here, Frothingham takes a break from what my father would affectionately call shouting in tune to do his best Mikael Åkerfeldt (Opeth) impression and guide the listener through a somber acceptance of the inevitable. The plaintive guitars, soft singing, and rumbling bass give way to subtle, beautiful melodies that grow organically. Not that the heavier moments are not welcome ones—”Fever Stone” is a more traditional, groove-led rocker that demonstrates a nearly opposite side of Mother Crone’s sound, the one that channels Pantera more than Opeth or Alcest. “Eye of Providence” is the middle track for the sound, best blending riffs, atmosphere, and heaviness. In all, Mother Crone don’t really sound like any of their influences, but bring forth something in the odd space between them all, something surprisingly affecting, sometimes heavy, sometimes airy, and often both at once. Another thing I can say about Embrace the Death is that it is a fairly front-loaded album. In particular, the trio of “Fever Stone,” “Embrace the Death,” and “Unto the Dawn” is a powerful one-two-three hit of Mother Crone’s sound, from burly, melodic aggression to more plaintive, introspective atmospheres. Towards the end of Embrace the Death, however, I think Mother Crone loses sight of their strengths. “Inner Keep” in particular is an example of a song that could have used more editing than it received, clocking in at eleven minutes without making the impression I think it means to. “Celestial Light” is a beautiful closer for the album, but tonally feels a bit out of place. Perhaps if more of Embrace the Death leaned towards its title track sound it would fit better, but as is, it feels like the two extremes of the Mother Crone sound are more in competition with each other than blending into a unified listening experience. It’s all good music, but as a full album, I think there’s too much back and forth between aggressive and plaintive music to feel as “complete” as it could have felt. Still, there is a clear journey through Embrace the Death, and, despite its grim title and concept, it’s a fun and reasonably thought-provoking listen. Mother Crone was not on my radar before now, but I’ll be paying attention to them for certain in the future. At best, this sophomore is a beautiful, compelling, and contemplative work of atmospheric metal; and otherwise, it is “only” good. Hopefully this new lineup sticks around for a bit—I’ll be looking forward to album three for sure. --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kb/s mp3 Label: Self-release Websites: mothercrone.bandcamp.com | facebook.com/mothercronemusic Releases Worldwide: March 4th, 2026 The post Mother Crone – Embrace the Death Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Mother Crone – Embrace the Death Review: Lately, I’ve been listening to quite a bit of depressing music. Between Meadowlands, Qroba, and Exequiae, the themes of melancholy, death, and despair have been having quite the run… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

5 days ago

Mallavora – What If Better Never Comes? Review Accessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal is a genre written off due to how abrasive it is. But what about physical and mental accessibility for fans and musicians? That is the mantra for Mallavora, a band that originally caught my attention in the promo pile with its bold description as an alt-metal group that fuses elements of R&B, Soul, and Middle Eastern trappings. Upon further inspection, they are pushing the frontlines of accessibility, making a point of playing shows in accessible spaces. Lead singer Jessica Douek suffers from fibromyalgia and is disabled herself, and guitarist Larry Sobieraj pulls from his own experience with chronic illness. If you think this slows the band down in any capacity, you would be wrong. Mallavora’s brand of Middle Eastern-infused alt-metal is dynamic, bombastic, and crushing. Their debut record, What If Better Never Comes? looks to answer the question: Is this a band that can back up its positive message with awesome music? The album art for What If Better Never Comes? depicts a blurred figure staring up at an endless staircase, and I can only imagine how much more terrifying this image is for those with physical disabilities, but as someone who suffers from mental illness, the metaphor of this insurmountable staircase plays out across the album. This is no happy space filled with sappy messaging and generic positive affirmations. “Sick” sees Douek chanting “Sick” to the backing of grooving guitars and Sam Brownlow’s energetic and punchy drumming. The track is a combo of alt and groove metal enhanced by Douek’s incredible vocals. While “Sick” is an easy example of Mallavora’s worldview, the album is peppered with ideas that personify the concept behind the album title and accompanying art. “Hopeless” is a depressing ballad with emo trappings that showcases Doeuk’s absurd vocal range and amazing falsetto. “Break” sees her directly confronting her life in an existence that feels hostile, calling out, “I guess this world just wasn’t made for bodies quite like mine,” before the track leads into “Birth of a Sun,” where she drops the hammer with powerful low gutturals backed by a massive riff that could live on an Orbit Culture album. What If Better Never Comes? by Mallavora Mallavora deftly avoids the repetition typical of many metalcore adjacent outfits. Alt-metal is at the forefront, and What If Better Never Comes? Is stuffed with creative left turns and surprising genre switches. “Smile” flips on a dime from all-out fury to a bouncing groove, only to go back to brutal blasts and Douek hitting her lowest growl. The album’s closer, and title track, is a nine-minute epic with massive riffs, an R&B tangent, and gorgeous chanting inspired by Douek’s Jewish and Middle Eastern heritage. Douek’s vocal talent cannot be overstated, and her range and style act as a throughline in the album, helping keep the disparate and chaotic elements cohesive. The clean production still allows for Brownlow’s skin beating to come out clear and brutal, while Ellis James’ bass shines. There is a consistent atmosphere that keeps Mallavora sounding like a veteran band, not one that is only just releasing its debut. What If Better Never Comes? is a powerhouse debut for a young band, but it isn’t all roses. “Waste” is an unfortunately named track, because it doesn’t really add anything to the album and has some of the weakest lyrics. It also feels the most formulaic of the tracks while never really opening up. The album is also oddly-paced. The variety on display is admirable, but at times it throws the album off course, such as dropping the ballad “Hopeless” too soon, derailing early momentum. Mallavora has something special with its sound. Douek’s vocals are consistently amazing, and her range is incredible. They use this to the fullest, with an album that goes wherever it wants and is the better for it. The four-piece shines on all fronts. Brownlow’s drumming has a classic rock energy that is infectious, Sobieraj’s riffs are huge, and James’ bass is allowed to shine with unique passages and expansive production. What If Better Never Comes? is as powerful as its message without being trite or treating disability as something to be patronized. It is as complex, flawed, depressed, and hopeful as we all are while remaining an infectiously groovy, anthemic alt-metal album that swings for the fences and mostly hits it. --- Rating: Very Good DR: 5 | Format Reviewed: 320 kbps mp3 Label: Church Road Records Websites: mallavora.co.uk | Bandcamp Releases Worldwide: March 27th, 2026 The post Mallavora – What If Better Never Comes? Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Mallavora – What If Better Never Comes? Review: Accessibility in music isn’t something we fuck with here at AMG. It isn’t even really something metal fans in general care about. Many times, even at its most accessible, metal… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

6 days ago

Total Maniac – Love Overdrive Review Clouds of smoke obscure your view of the stage, where amps are littered with empty glass bottles. The scents of sweat and spilled beer dance in your nostrils as five long-haired reprobates clad in denim and leather walk onto the stage, a swagger in their step and street tough bravado oozing from their pores. Looking to take in a show whilst sitting on your ass? Get fucked. Total Maniac expects you to be on your feet and moving, and if you’re not ready for that, why are you even here? These boys from Baltimore play a raucous brand of classic rock-meets-speed metal that lives somewhere between Motörhead, Mötley Crüe, and Ted Nugent, delivering no-frills cheap thrills on sophomore effort Love Overdrive. So slap on your battle vest and steel-toe boots—when adrenaline starts to flow, and you’re thrashing all around, you’ve gotta be prepared to act like a Total Maniac. Compared to Total Maniac’s self-titled debut, Love Overdrive veers more into the trad metal/rock ‘n’ roll lane than Total Maniac’s thrash ‘n’ roll stylings. While both albums showcase Total Maniac’s snotty disregard for authority and decorum, Total Maniac dedicated more attention to thrashy chugs and barked vocals. On Love Overdrive, the focus centers on sticky leads and hooky riffs over palm-muted riffing and abrasive grit. Love Overdrive also tones down what passed for technicality on their debut. Not that Total Maniac doesn’t host capable musicians, but there are moments across the album where guitars and vocals sound like they’re pushing just past their ability. Despite that, Love Overdrive features an enthusiastic embrace of freewheeling sin-dealing that’s easy to appreciate. What Total Maniac lacks in virtuosic prowess, they make up in impish pluck. With only twenty-seven minutes on tap, Love Overdrive never feels phoned in. Each moment sounds crafted to maximize fist-pumping carnage, from the “Panama”-meets-“Wild Side” riffing in “Love Overdrive” to the Phil Campbell-inspired soloing toward the end of “Flatline.” It’s unclear which of Total Maniac’s guitarists takes the lead at any given point, but both Mike Brown and Nick Etson lay down earworm after earworm, frequently breaking away for a quick solo before snapping back to let vocalist Diamond Dustin regale you about hard living, hard loving, and hard rocking. Double-D doesn’t lack conviction, although his upper range sometimes gets away from him. It’s not a deal-breaker, as this sort of rowdy street metal lends itself to imperfect performances that enhance its DIY charm, but piercing falsettos occasionally hit like a sour King Diamond. As for the rhythm section, drummer Vaughn Volkman does a commendable job keeping Love Overdrive’s eight tracks on the rails, but it’s bassist Ben Martin who steals the show. His beefy grumbles and well-mixed countermelodies offset Total Maniac’s dual-guitar attack, creating a well-balanced stringed menace that defines my favorite aspect of Love Overdrive. Though Total Maniac bleeds authenticity and fun, Love Overdrive does little to stake an identity that hasn’t already been claimed. Many of the riffs seem like variations on Mötley Crüe’s 80s heyday, with “Early Grave” echoing the main motif from “Kickstart My Heart” and the intro from “Set Fire to the Sun” hitting the same mid-paced groove and brief bass sustains as “Shout at the Devil.” The mid-song break in “Drinkin’ Our Way to Hell” even reminds me of Nugent’s crackpot rant towards the end of “Wango Tango.” In this way, Love Overdrive feels like a step back from Total Maniac, which was rougher around the edges, but better defined a unique voice for the band. Total Maniac does a fantastic job of harnessing the spirit of the music I grew up listening to, but Love Overdrive rarely captures moments that achieve the promise of their inspirations. Fun abounds, and the music encourages beer-chugging shenanigans with a shit-eating grin, yet in the end Total Maniac leaves me wanting to revisit songs I already know rather than learn these new ones. Even so, it’s a quick listen worthy of a spin for anyone craving new material harkening to simpler times. I look forward to hearing where Total Maniac ventures next, and I hope they find a way to continue celebrating the glory of the past while sending their future into Overdrive.  --- Rating: Mixed DR: 6 | Format Reviewed: 320 kbps mp3 Label: Self-Released Websites: Bandcamp | Facebook Releases Worldwide: March 27th, 2026 The post Total Maniac – Love Overdrive Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Total Maniac – Love Overdrive Review: Clouds of smoke obscure your view of the stage, where amps are littered with empty glass bottles. The scents of sweat and spilled beer dance in your nostrils as five long-haired reprobates… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

6 days ago

The Silver – Looking Glass of Hymnal Blue Review Comprising members of Horrendous and Crypt Sermon, back in ye strange times of 2021, Philadelphia’s The Silver dropped an impactful debut platter upon the unsuspecting underground masses. Ward of Roses struck a powerful and unexpected blow, welding atmospheric goth, post, black, and progressive elements into a biting and melodramatic slab of extreme metal. Time flies, and nearly five years later, The Silver make an anticipated return through sophomore album, Looking Glass of Hymnal Blue. Already boasting a unique, versatile and imposing formula, rather than dramatically reinventing their sound, Looking Glass of Hymnal Blue finds The Silver tightening the nuts and bolts of their songwriting to forge a confident continuation and subtle evolution of Ward of Roses. Balance is the key to unlocking The Silver’s songwriting power and stirring dynamics. A wicked melting pot of gothy atmosphere, darkly sparkling melodicism, and stormy theatricality, Looking Glass of Hymnal Blue grounds these elements with anguished extremes, the harrowing howls of vocalist Nick Duchemin, and a hyperactive barrage of blast beats, frantic, blackened riffage, and steely aggression. This enticing, ying-yanging combination is expertly crafted, especially when combined with progressive arrangements that flex The Silver’s strengths and unorthodox charms with interesting, complex musicianship and memorable hooks. Shrouded in an atmosphere of icy melancholy, Looking Glass of Hymnal Blue’s wrenching emotional resonance lends further substance to the dense material. Notably, the improved clean vocal lines play a more integral role, featuring an emotive, addictive punch soaring through the album’s jagged, bleaker terrain. The opening title track sets the tone, unleashing visceral bursts of turbulent axework and frantic rhythms, as dueling harsh and clean vocals consolidate The Silver’s mastery of contrast, including frosty beauty and beast dynamics. Some almost Opeth-esque bluesy guitar work and a beautifully delivered clean vocal passage cap off a stellar introduction. Longer form epics form the bulk of the album, as evidenced on the album’s lengthiest piece, the stunning, nearly nine-minute-long “Two Candles.” The Silver handle the weighty composition with crafty skill. Urgent, savage ebbs smoothly intermingle with soaring cleans, mellow passages, and colorful guitar work. It’s an ambitious, frequently gripping journey, encapsulating The Silver’s strengths and individuality in one momentous epic. Elsewhere, The Silver’s keen balancing act also shines on shorter, punchier songs, such as the aggressive, percussive-heavy surge and pristine melodics of “Memorias,” or violently thrashing assault and blackened intensity of “Tendrils.” Ward of Roses possessed a distinct freshness and raw delivery complimenting its harsher realms and melodrama. Naturally, the elements of surprise are tempered second time around, Looking Glass of Hymnal Blue only marginally sacrifices the rawer edge of the debut, compensating through a stronger, more confident melodic presence and tighter songcraft. The Silver’s proggy inclinations come to the fore, deviating from conventional writing and maintaining a rich infectiousness, where hooks bore into the soul and lodge in the memory bank. Musically, Looking Glass of Hymnal Blue is another ambitious, genre-splicing beast, straddling post, black, prog, and doomy realms with aplomb, maintaining cohesion, beefing up the technicality and rippling guitar fireworks, and pushing forward Matt Knox’s confident, compelling clean vocal melodies. This may not work for all listeners, depending on tolerance for Knox’s vocal style, which generally dips less into the spoken word theatrics that were occasionally a stumbling block on Ward of Roses. Special mention also to the robust rhythm section; as plump basslines, pulsating rhythms, and intricate drum patterns demand attention. Only the shorter, bluesy later album cut “…Twilight of Love” falls short of the hefty standards of its counterparts, though it is a solid song regardless, feeding into the colossal power, violent throes, and affecting melodies of closer “My Lone Dark Lantern.” Looking Glass of Hymnal Blue adds intriguing twists and layers to an already cool formula, largely levelling up from the sophisticated, exciting promise of their debut. Crafting another accomplished, beautifully produced album, The Silver avoid the dreaded sophomore slump, taking minor creative risks while both expanding and consolidating their unique sound. Taking their time with this second opus, the payoff is grand, and The Silver’s welcome return suggests this project is here for the long haul. --- Rating: 4.0/5.0 DR: N/A | Format Reviewed: Stream Label: Gilead Media Websites: Bandcamp | Facebook Releases Worldwide: March 20th, 2026 The post The Silver – Looking Glass of Hymnal Blue Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 The Silver – Looking Glass of Hymnal Blue Review: Comprising members of Horrendous and Crypt Sermon, back in ye strange times of 2021, Philadelphia’s The Silver dropped an impactful debut platter upon the unsuspecting… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Power Paladin – Beyond the Reach of Enchantment Review Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no different than that of many power metal groups—to explore fantasy realms, vanquish foes, and have a blast while doing so. They already acquitted themselves with their debut album, With the Magic of Windfyre Steel, which Eldritch Elitist lauded with praise in the January 2022 filter. While I found it enjoyable at the time, it didn’t stick with me for very long. But now, on sophomore record Beyond the Reach of Enchantment, Power Paladin returns with sharper blades and brighter divine light to safeguard the ears of the innocent. If you elect to ride with Power Paladin, the first rule of the road is to leave all self-seriousness at home. As with most Europower, Beyond the Reach of Enchantment requires a love (or at least a tolerance) of flamboyant frivolity and imaginative play. Expect big verses, bigger choruses, and lots of guitar shredding. While its predecessor was more devoted to the sleekness of Twilight Force or Rhapsody of Fire, Power Paladin now divides their allegiance more evenly with heavy metal and hard rock in Helloween fashion. This makes Beyond the Reach of Enchantment sound brawnier, further aided by a meaty bass tone that adds welcome crunch to this glorious charcuterie board. These Paladins occasionally succumb to their darker urges, embodied by Óskar Rúnarsson’s1 death growls (“Glade Lords of Athel Loren,” “Valediction”), making them more endearing and relatable. Beyond the Reach of Enchantment may be a bit derivative, but what sets Power Paladin apart is their sheer energy and charisma. Their music challenges one’s ability to sit still; not even my distracted five-year-old daughter could resist the urge to headbang the first time she heard the opening notes of “Glade Lords of Athel Loren.” No member of the body can remain limp or listless upon hearing the heavy metal anthem “Sword Vigor” or the stomping and romping of “The Royal Road.” Vocalist Atli Guðlaugsson frequently steals the show, his powerful falsettos weeding out the unsanctified eardrums. That said, it’s impressive how Power Paladin can write songs in such a way that such a commanding frontman doesn’t completely dominate the listener’s attention. Einar Karl Júlíusson is constantly changing up his double bass rhythms, and there are plenty of rapid-fire guitar and keyboard sections to keep the momentum going. Yet, all this energy on Beyond the Reach of Enchantment can become slightly wearisome. The album art might feature a respite around a campfire, but the music is much closer to a battle scene. Rests tend to be momentary and sometimes sound out of character, like when “The Arcane Tower” abruptly dies down to a whisper midway through. I find myself missing the naturally occurring downtime in “Creatures of the Night” and “There Can Be Only One” from With the Magic of Windfyre Steel. It’s not until the 10-minute conclusion, “Valediction,” that Power Paladin takes a proper breather in the form of soft guitar plucks. The extra time also allows for more compositional experimentation, with smooth keyboard transitions during the extended bridge section, as well as a brief but lively duet with Sara Rut Fannarsdóttir2 (more of her next time, please!). Everything is solidly written and performed, but still somewhat blends together until the end. If you’re questing for fun with a hefty side of merriment, Power Paladin will happily serve as your guide. They sound even more confident and earnest than before, once again striking a great balance between silliness and substance. Beyond the Reach of Enchantment somehow overclocked the power of its predecessor, the gallant and galloping tunes courageously smiting the unholy. I do wish for a bit more dynamic pacing, but this may just be a “me” problem, and only when listening front to back. Gather your party and grab your dice—the next campaign awaits!  --- Rating: 3.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Reigning Phoenix Music Websites: powerpaladin.is | facebook.com/powerpaladinice Releases Worldwide: March 27th, 2026 The post Power Paladin – Beyond the Reach of Enchantment Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Power Paladin – Beyond the Reach of Enchantment Review: Sometimes a band name can be on the nose in the best way, and Power Paladin makes no effort to disguise their preferred music class. The mission of these Icelanders is no… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Ross the Boss of Manowar Fame Dead at 72 Sad news dropped this afternoon when it was reported that Ross the Boss Friedman passed away after a battle with ALS. Ross rose to fame as the guitarist of the influential 70s punk rock act The Dictators, and later he joined Manowar, where his heroic guitar playing shaped the band’s sound on iconic albums like Hail to England, Into Glory Ride, and Kings of Metal. After leaving Manowar following 1988s, Kings of Metal, Ross founded Ross the Boss, releasing 4 albums with his eponymous act, as well as playing on 4 albums by Death Dealer. Back in February of this year, Ross announced he had been diagnosed wth ALS, and now so soon after, that awful disease has claimed his life. Because I was a huge Manowar fan growing up, I always idolized Ross and loved his style of playing. He had an epic flair that helped make Manowar the true metal champions they were, and no one sounded like him. This feels like a huge loss to the metal community. Our thoughts and prayers go out to his family and friends. Ride into glory, Ross. You won’t be forgotten. ---  The post Ross the Boss of Manowar Fame Dead at 72 appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Ross the Boss of Manowar Fame Dead at 72: Sad news dropped this afternoon when it was reported that Ross the Boss Friedman passed away after a battle with ALS. Ross rose to fame as the guitarist of the influential 70s punk… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Cryptworm – Infectious Pathological Waste Review UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm! Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef! Infectious Pathological Waste by Cryptworm On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey. Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps. Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave. --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Me Saco Un Ojo Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial Releases Worldwide: March 27th, 2026 The post Cryptworm – Infectious Pathological Waste Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Cryptworm – Infectious Pathological Waste Review: UK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Cruel Force – Haneda Review Evolution. It’s one of those principles that seems to undergird just about every aspect of existence in this universe. As students of our most favorite of genres, we often speak about the “evolution of heavy metal” and how it has birthed a plethora of subgenres of varying degrees of viability. While some of these subgenres carry enough useful traits to become long-lasting pillars in the monument of heavy metal, others seem to serve the role of transitional forms or “missing links” between more well-known styles. Case in point: speed metal. Often seen as a momentary stop on metal’s journey from traditional to thrash, relatively few bands have built a career on speed alone. Acts who start with speed metal (many early thrash bands and power metal bands, especially) often incorporate other elements or transition to something else entirely. While this may be the general trend in metal’s history, Germany’s Cruel Force says, “Fuck that.” Formed back in the late aughts as a blackened thrash/speed metal band, Cruel Force regrouped after a long hiatus, reinventing themselves as a pure and simple speed metal band with 2023’s Dawn of the Axe, an album that impressed me enough to earn a spot on my list of honorable mentions for that year. Well, if that was the dawn of the axe, 2026’s Haneda is the reign of the axe, an axe that has been meticulously honed and polished to the point of being as beautiful as it is lethal. I’d suggest doing a proper warmup before pressing play on the embedded “Whips-A-Swinging,” because severe neck damage is all but inevitable. Haneda by CRUEL FORCE In fact, Haneda should have come with a warning from the surgeon general stating something like, “May cause permanent stank face. May cause carpal tunnel syndrome secondary to excessive involuntary air guitar. May cause the user to run through walls, laugh maniacally at inappropriate times, or punch strangers in the face. Do not use while operating motor vehicles, as dangerous and irreversible acceleration has occurred. User may also feel the urge to destroy said vehicle with their bare hands, Street Fighter style.” And that’s just my experience with the record these maniacs have produced. Guitarist Slaughter absolutely lives up to his name, slaying all before him with unbelievable rhythm skills and classic metal leads, while Spider’s fingers crawl across his bass fretboard in an effort to keep up. Carnivore feasts, delivering a timeless, thrashy vocal performance that suits the music oh so well, but MVP honors go to drummer GG Alex, whose incessant fills have managed to become a hallmark of Cruel Force’s sound. The prospect of 42 minutes of speed metal probably doesn’t sound all that special or exciting, but in Cruel Force’s capable hands, Haneda has managed to transcend the genre’s ham-fisted, beer-guzzling stereotype to create something truly special. The compositions are incredible, ranging from 4-minute rippers like “Whips-A-Swinging,” “Savage Gods,” “Sword of Iron,” and “Black Talon,” stretching into more complex work like “Warlords” or the album’s instrumental centerpiece “Crystal Skull,” and finishing in grand fashion with the epic, 9-minute, Song o’ the Year-frontrunning title track. Every song features wild, yet somehow graceful transitions and killer grooves, and the production is simply beautiful, proving that an album can sound authentically old and brutal while simultaneously feeling cultured and refined. I’m honestly still in shock from how hard this album hit me; what on first listen felt like just a really good speed metal album has revealed itself to be utterly excellent. To finish my musings on evolution, Haneda sounds like a handful of speed metal bands become isolated on an island that drifted away from mainland Metal millions of years ago (let’s call this island ‘Metalgascar’) and whose progeny have spent the intervening time adapting and mutating without any other external musical influence. Where mainland Metal achieved heaviness through ever more extreme vocalization, down-tuning, and genre bastardization, Metalgascar developed its heaviness through ever-increasing speed and compositional quality. Far from being some hunched-over figure towards the beginning of heavy metal’s March of Progress, speed metal, in the form of Cruel Force, has achieved its final form, becoming Homo deus, the Übermensch, the Gigachad, or as the kids say these days, “he’s him” (or “she’s her,” or “they’re them,” if you prefer). This fantastic record will undoubtedly be on my year-end list (if not atop it), because I doubt that 2026 can produce something that’s more quintessentially metal. --- Rating: 4.5/5.0 DR: 9 | Format Reviewed: 320 kbps mp3 Label: Shadow Kingdom Records Websites: cruelforce.bandcamp.com | facebook.com/cruelforce Releases Worldwide: March 27th, 2026 The post Cruel Force – Haneda Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Cruel Force – Haneda Review: Evolution. It’s one of those principles that seems to undergird just about every aspect of existence in this universe. As students of our most favorite of genres, we often speak about the… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Melting Rot – Infatuation with Premeditation Review When in skilled hands, death and grind go together like all the finest combinations, whether it’s peanut butter and chocolate, beer and pretzels, or good old mac and cheese. The tasty combo applies to the musical inclinations of Illinois wrecking crew Melting Rot, as they unleash their second LP and follow-up to 2021’s Blood Delusions debut. Admittedly unfamiliar before dredging this one up from the promo sump, the trio feature combined underground experience with various lesser-known acts, forming way back in 2017. Citing the likes of Regurgitate and Excruciating Terror as comparisons, and featuring a guest spot from Exhumed legend Matt Harvey, can these unheralded deathgrind loonies make a sizable impact in the ever-crowded realms of the underground? Following a short sample, right off the bat, Melting Rot lay their gnarled cards on the table, unleashing a rugged, relentless frenzy of old school grind values and groovy, gnashing brutal death, complete with incomprehensible, uber low vox and occasional deeper variations or grindy highs. It’s a tight, violent, take-no-prisoners approach, done and dusted in a mere eighteen minutes. Melting Rot flip between d-beaten bursts and blasts of crusty grind, to thuggish brutal death depravity with raucous energy and tight musical chops. Revelling in the relative uncomplicated nature of their sound, Melting Rot draw influence from the likes of Exhumed, Carcass, and a more straightforward Benighted. Sporting a robust, extra beefy production job, Infatuation with Premeditation boasts a killer guitar tone, cutting a nasty swathe of distortion and welcome oomph to the ample supply of meaty riffs and piledriving grooves littering the album. At their most potent, Melting Rot dish out gnarly examples of their bruising deathgrind attack. Barnstorming cuts like the viciously grinding, punkish throes and infectious riffs of “Human Pavement Splatter,” crunching grooves and ripping powerplays of “The Surgeon was Comatose,” and thrashing melodicism cutting through the otherwise blunt force savagery of “Aiming for Construction Workers” highlight Infatuation with Premeditation’s stronger writing. Not to be discounted, “Open Casket Vomit Spew” injects Necroticism-esque flair and crunch, while “Morbid Infatuation” adds buzzsawing Swedeath riffs into its punky grind skirmishes. It’s nasty, unsanitized stuff, refreshingly free from modern polish, ensuring the material retains its dirty, rusty edge. There are no glaring weak links, just a handful of moments where the writing bleeds together slightly, leading to fleeting moments of faceless brutality. Meanwhile, the vocals are a mixed bag. The multi-pronged attack largely defaults to the predominant gurgling lows, while serviceable, they lack variation and are fairly one-dimensional and monotonous in delivery. When occasionally cut with the shattering highs and other lower growl variations, the vocal impact is more effective. Shifting the balance would have worked wonders. Otherwise, Infatuation with Premeditation ticks all the boxes for a rollicking good time for deathgrind fiends. The brevity leaves you wanting more, and while long-term mileage is debatable, overall, Melting Rot swing hard and largely nail the impact. The subtle dynamic shifts between their higher gears are well executed, while the album is fueled by relentless energy and filthy, bludgeoning riffs, packing a mean, headbanging punch. Melting Rot delivered a punchy, efficient blast of deathgrind goodness on Infatuation with Premeditation, featuring a short, sharp collection of nuggety brawlers falling in the solid to very good bracket and hinting at potential greatness to come if Melting Rot continue to sharpen and hone their songwriting skills. As it stands, Infatuation with Premeditation is a strong 3.0, an entertaining platter and recommended listen for deathgrind enthusiasts who like their deathgrind extra riffy and their grooves bloody and beaten.  --- Rating:3.0/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: Hells Headbangers Records Websites: Bandcamp | Facebook Releases Worldwide: March 27th, 2026 The post Melting Rot – Infatuation with Premeditation Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Melting Rot – Infatuation with Premeditation Review: When in skilled hands, death and grind go together like all the finest combinations, whether it’s peanut butter and chocolate, beer and pretzels, or good old mac and cheese.… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Aggressive Perfector – Come Creeping Fiends Review In 2019, English retro metal maniacs Aggressive Perfector came out of nowhere to blindside me with a nasty mash-up of classic 80s metal, speed, and quasi-blackened evil called Havoc at the Midnight Hour. It was an endearing nostalgia ride through the early days of extreme metal, stealing body parts from Venom, Mercyful Fate, and beef-brained thrashers like Rigor Mortis and Nasty Savage. It was rough around every single edge, but it packed the same kind of past-obsessed punch as Deceased and made me love it. It took these sonic miscreants some time to get back in the marketplace with new material, but Come Creeping Fiends promises to have everything from the debut turned up to 12.5 and then some. And in this, they aren’t fibbing. This is another slab of over-the-top excess in the name of unholy overkill, and it sounds like a bunch of local bar bands covering Venom’s early material after too many shots of Jägermeister. That’s a good thing, right? RIGHT?? If you like your metal loud, unhinged, but oddly melodic and catchy, you came to the right Satanic mass. Opener “Dead Undead” is a wild and woolly smush of Venom and early Mercyful Fate with some Desaster crammed in to see if the mixture explodes. It does. This thing is hairier than Yours Steely with a full midvinter pelt, and just as fragrant. It’s not far from the usual Deceased output, and frontman Dan Chainsaw (formerly Dan Holocausto) sounds a whole lot like the legendary King Fowley as he roars, rages, and retches against the dying of the light (and the closure of the All-You-Can-Eat $8 buffet at King Egg Dynasty Kitchen). His vocal excess is excessive, and it’s laid on top of a weird collection of traditional, thrash, and NWoBHM guitar segments without much thought given to how well it fits or doesn’t. You go from a Sodom or Desaster riff one minute to something from Motörhead’s Another Perfect Day era, and though this hodge-podge recipe seems ill-advised, it works, and the song is stupid, brainless fun. “Strange Companion” sounds like a lost hit from Deceased, and I loved it the moment it assaulted my ear sockets. It’s bombastic but melodic and memorable, though you should never try to sing along with it in public, ever. “Fiend in You” keeps the strange times rolling with a number that’s hooky and hard rocking but extremely confrontational vocally. It reminds me of the days I worked for my older brother doing construction during summers in High School, and basically just got screamed at for 10 hours a day. I like it anyway, though! “Obscene Cult” robs Candlemass blind of the riff from “Bewitched” and repurposes it for much nastier deeds done way cheaper than dirt. You won’t be able to unhear “Bewitched,” so it sounds like some absolute nutter is screaming over the song about Satanic masses and corpse defilement. “Harlot’s Curse” is the most ambitious track in that it dumps the most 80s influences into the smoothie machine, hoping for a new taste sensation. You’ll hear about 20 bands you know by heart in the riffing and song structure, but somehow it all coagulates into a functional song of its own. Penultimate cut “Return of the Axe” deserves special praise as the most frenzied and unstable track, thrashing and bashing for all its worth. It’s a silly but captivating piece of caveman metal, and I can’t help but want to adopt and raise it as my offspring. At a tight, no-blubber-allowed 30 minutes, Come Creeping Fiends rip rides over you like a nitro-fueled earthmover. You will be flattened, and you will enjoy it. Aggressive Perfector make a lunatic racket, and the best parts come from the guitarwork by Dan Chainsaw and drummer/guitarist/keyboardist, Intimidator. These goons are like a living codex of 80s metal riffs and harmonies, and they regurgitate the olden sounds in strange new patterns to craft wildly entertaining tunes. The thrash leads are nice, but it’s the classic metal lines that really shake my lizard brain. Every track has at least one riff that activates my inner teenage idiot, and I appreciate that. Vocally, Dan Chainsaw goes all in, getting himself committed to the nervous hospital with his insane screams, rasps, roars, and unusual attempts at “singing.” Medically speaking, the dude has some screws loose in his tonsils, but wow, is it fun to hear him come unglued. Come Creeping Fiends takes the chassis of the debut and welds spikes, spears, and buzzsaw blades all over it. It will harm all who listen, but in productive, character-building ways. If you have non-metal-loving friends, trap them in an enclosed space and force this on them loudly as you watch their panic and terror. This is what is best in life! Let these creeping fiends in and see how it goes.  --- Rating: 3.5/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: Dying Victims Websites: aggressiveperfector.bandcamp.com | facebook.com/aggressiveperfectorband | instagram.com/aggressiveperfector Releases Worldwide: March 27th, 2026 The post Aggressive Perfector – Come Creeping Fiends Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Aggressive Perfector – Come Creeping Fiends Review: In 2019, English retro metal maniacs Aggressive Perfector came out of nowhere to blindside me with a nasty mash-up of classic 80s metal, speed, and quasi-blackened evil… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Antrisch – Expedition III: Renitenzpfad Review In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2 With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative. EXPEDITION III : Renitenzpfad by Antrisch Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying. Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline. There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting. --- Rating: 4.5/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: AOP Records Websites: Bandcamp | Facebook Releases Worldwide: March 27th, 2026 The post Antrisch – Expedition III: Renitenzpfad Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Antrisch – Expedition III: Renitenzpfad Review: In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Papa Necrose – Anthropomorphy Execution Review Five-headed Brazilian death metal horde Papa Necrose emerged from the promo sump with two strikes against them before Anthropomorphy Execution even began. First, if we were somehow living in an alternate metalverse where Ghost didn’t exist, then the name Papa Necrose might be passable. But we don’t. Instead, the name only evokes the theatrical imagery tied to Tobias Forge’s famous alter-ego. Second, the Saw‑meets‑Easter‑Island cover art is não é bom,1 feeling flat out undercooked. Put those surface issues aside, and you’ll find a record that soaks itself in classic 90s progressive death. The outcome of years of arduous development, Papa Necrose’s third LP once again turns its attention to the Catholic Church as its central target. However, rather than chasing reinvention, Anthropomorphy Execution embraces familiarity, seeking to recapture the qualities that have allowed this well-known strain of death to endure. Anthropomorphy Execution wears its influences squarely on its sleeve: post Human‑era Death and early Pestilence are the clearest touchstones, with vocals that blend Obituary‑style guttural heft and Schuldiner‑like phrasing. There’s nothing here you haven’t heard before, but the performances are surprisingly astute. And it’s clear Papa Necrose has more than enough musical chops to pull off their homage. Danilo Vagner and Carlo Silva’s down‑picked, grinding riffs, Luquian Silva’s dynamic tom fills, and Eric Gusmão’s exploratory bass runs are executed with precision, coalescing into highlights like “Hammered in the Mind,” “Cathedral of Death,” and “Eighteen Years Awake.” Gusmão’s Sound of Perseverance-flavored breaks, along with the interplay between Vagner and Silva’s riffs and Silva’s fancy kit work, give the tracks plenty of groove to latch onto. James Murphy (Death, Obituary, Cancer) even shows up for a guest spot (“The Thousand Yard Gaze”). Talent-rich, but too obvious in their devotion, Papa Necrose seems comfortable being nothing less than an off-the-shelf clone of their heroes. Anthropomorphy Execution by PAPA NECROSE Anthropomorphy Execution’s biggest problems lie in its songwriting and overall cohesion. While the individual performances are competent, the sum rarely matches the quality of its parts, leaving Anthropomorphy Execution feeling clunky as a whole. Alessandro Necrose is a capable vocalist and effectively channels a John Tardy (Obituary) level of disgust, but a vocal mix that sits too far forward and drowns everything in delay undermines his delivery. His tendency to end his growls with an exaggerated gurgle (“Anthropomorphy Execution,” “Cathedral of Death,” “Disenchant Them”) doesn’t help matters and comes off as cheesy rather than heavy. Structurally, tracks tend to sprawl, with vocals that occasionally lag behind the instrumentation (“Fall, Die, and Break”), or overactive solos that crowd otherwise promising passages (“Disenchant Them”). And with a runtime of over 46 minutes, the album overstays its welcome by at least two songs. While Papa Necrose lacks a distinct identity of their own, discerning musicality and a clear reverence for the classic progressive death sound produce some strong moments. “Fall, Die, and Break” is a straightforward track that leans on chunky, mid-paced riffs, fret-tapping fireworks, and dexterous drumming to establish a serviceable baseline for the record’s sound. It’s nothing special, but it demonstrates a functional grasp of structure and pacing. “Eighteen Years Awake,” “Hammered in the Mind,” and “Cathedral of Death” benefit from a sharper sense of momentum, finding Papa Necrose at their heaviest and most confident. Driven by syncopated bursts of technical shredding and frequent tempo shifts, the songs remain engaging throughout and largely sidestep the issues that drag down the rest of the record. “Anthropomorphy Execution” could have joined them as one of the record’s stronger cuts if not for its near‑lifted guitar harmony from Symbolic’s “Sacred Serenity.” To its credit, the song is one of the few moments where Papa Necrose attempts to break the mold, introducing added wrinkles like ceremonial-flavored motifs. Still, this occurrence isn’t enough to overcome the track’s mimicry, nor imbue the material with a sense of personality that gives it lasting appeal. Papa Necrose is no doubt fluent in classic progressive death, but Anthropomorphy Execution rarely speaks in its own voice. Competently played and steeped in the right influences, the record leans too heavily on familiar tropes to ultimately feel essential. Until Papa Necrose tempers its devotion with a stronger sense of self, their work will continue to land as another well-executed homage in a genre already defined by far stronger voices. --- Rating: Disappointing DR: 5 | Format Reviewed: 320 kb/s mp3 Label: Awakening Records Websites: awakeningrecordscn.bandcamp.com | facebook.com/papanecrosedm Releases Worldwide: March 20th, 2026 The post Papa Necrose – Anthropomorphy Execution Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Papa Necrose – Anthropomorphy Execution Review: Five-headed Brazilian death metal horde Papa Necrose emerged from the promo sump with two strikes against them before Anthropomorphy Execution even began. First, if we were… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Hellripper – Coronach Review Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can also typify a diet deficient in vitamin R(iff). If it’s the latter, Hellripper’s Coronach practically hemorrhages the cure for what ails you, parading pulse-pounding riffs, blistering solos, and enthralling grooves with palliative nonchalance. Unleashing Hellripper’s fourth album in under a decade, architect and sole member James McBain maintains a tried-and-true release schedule and, more importantly, a steady evolution of sophisticated songwriting that’s as compelling as it is emboldening. I won’t mince words—Coronach is an undeniable corker and succeeds as Hellripper’s greatest triumph to date. So run down to your local or digital dealer and grab some Coronach posthaste! Expanding on the achievements of Hellripper’s previous albums, Coronach harnesses the charm of earlier releases and injects them with a lethal dose of vitality. Back in 2017, debut Coagulating Darkness bled its influences on its sleeve, from riffs dripping with warp-speed Venom to the guitar lead from “Bastard of Hades” pulled straight from Metallica’s “Hit the Lights.” The Affair of the Poisons shaped Hellripper’s identity with flurries of licks that, while still laced with influences, exuded a welcome dimension of originality. Three years ago, Warlocks Grim & Withered Hags’ introduced knotted, longer-form compositions that pushed out the runtime while augmenting Hellripper’s arsenal of aural ammunition. With Coronach, Hellripper strikes a balance between the lengthier arrangements of Warlocks and the breakneck blackened bangers of yore, amplified by stellar performances throughout. Coronach (24-bit HD audio) by Hellripper Coronach overflows with electrifying instrumentation, and while McBain supplies most of Hellripper’s sonic ingredients, a few guests further enrich its proceedings. Searing leads and scorching solos set Coronach’s eight tracks aflame, boasting some of the hookiest guitar-playing I’ve heard this year. “Hunderprest” and “Blakk Satanik Fvkkstorm” crackle with flashy fretwork, buoyed by longtime six-string contributor Joseph Quinlan (Desert Heretic). Similarly, “Kinchyle (Goatkraft and Granite)” rumbles with snappy Motörheadstrong riffs before an acoustic guitar cuts in to transition the song into slinky grooves and heavy half-times. After some interplay, the pace ramps back up to close out on the intro riff. Hellripper has never lacked for earworms, yet Coronach unveils a mature understanding of dynamic songwriting that endows depth and complexity while never sounding forced or unnatural. Besides Quinlan, Jess Townsend contributes violin on “Baobhan Sith (Waltz of the Damned),” while singer Marianne returns to lend her vocals on a few tracks and Antonio Rodriguez reprises the bagpipes on closer “Coronach.” Vacuous’s Max Southall even bestows some percussive flair on “Mortercheyn.” Between himself and the talented musicians he’s assembled, it’s clear that while McBain is comfortable with his supporting cast, he’s determined not to put out the same album twice. What impresses me most with Coronach is that McBain manages to broaden Hellripper’s auditory palette without ever losing the band’s core identity. “Hunderprest” and “Coronach” brim with the band’s trademark rippin’ riffs, yet the solos recall southern rock shredding à la Lynyrd Skynyrd or The Outlaws played at one-and-a-half speed. “Sculptor’s Cave,” meanwhile, channels what El Cuervo affectionately dubbed ‘Motörhead on cocaine’ energy during its “Rock ‘n’ Roll”-informed solo. A pervasive punk attitude also shimmers beneath the surface of Coronach, where the unadorned guitar refrains from “Kinchyle (Goatkraft and Granite),” “Sculptor’s Cave,” and “Mortercheyn” evoke more technical versions of Bad Religion and The Offspring. Tying it all together and allowing the myriad influences to coalesce, the mix ensures this is the best Hellripper has sounded, retaining their raw edge while dialing back the ‘everything louder than everything else’ approach that afflicted past albums—The Affair of the Poisons in particular. Doubtlessly, Hellripper has dropped their finest release so far with Coronach, though a few small adjustments could have boosted it to undisputed excellence. “Baobhan Sith (Waltz of the Damned)” runs a tad too long, and although I like “Mortercheyn,” it doesn’t quite live up to the heights of the other tracks. Even so, I unapologetically return to Coronach again and again with no signs of slowing down. Just remember—Coronach must be taken while driving or operating heavy machinery. If lethargy creeps in or your mouth runs dry from a chronic deficit of Vitamin R, just take one to two doses of Coronach (by ear) and wait for Hellripper’s restorative fix to kick in.1 --- Rating: Great!! DR: 7 | Format Reviewed: 320 kbps mp3 Label: Century Media Records Websites: Website | Bandcamp | Facebook Releases Worldwide: March 27th, 2026 The post Hellripper – Coronach Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Hellripper – Coronach Review: Tired? Irritable? Prone to bouts of melancholy that leave you feeling listless and unfocused, particularly as the weather changes? It could be seasonal affective disorder, but these symptoms can… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Lion’s Share – Inferno Review Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,1 but they never reached the level of acclaim their fans believe they deserved. Now, seventeen years after 2009’s Dark Hours, Lion’s Share attempt to swing back with Inferno, something Chriss claims as “the strongest, heaviest and most focused Lion’s Share record of our career.” There’s a lot working against Inferno: seventeen years between albums could either stoke the flames of ambition or see them snuffed out, and vocalist Nils Patrik Johansson most recently came off a plain bad solo record in War and Peace. But can Lion’s Share overcome these challenges and stumbles to claim the throne they deserve with Inferno? Lion’s Share raise their Inferno through the ancient metal magiks of the early 80s. Ruled by the riff as first envisioned by the likes of Exciter, Diamond Head, and Dio, Inferno sneers at any notion that heavy/proto-thrash doesn’t deserve consideration this side of 2000. For the most part, Inferno’s throwback nature proves engaging. “The Lion’s Trial” evokes Dio’s “Holy Diver” with its dramatic synth intro and anthemic structure, while “We Will Rock” teeters the line of homage and plagiarism of Dio’s “We Rock,” borrowing heavily from its chorus riff and vocals. Inferno flirts with select 90s innovations, like Primal Fearesque power metal in “Live Forever” and “Another Desire” and brooding groove in “Pentagram” and “Baptized in Blood,” which catches similar waves as Bruce Dickinson’s The Chemical Wedding. The only break from the formula is closer “Run for Your Life,” which blends doom riffs with symphonic elements and full-on hair metal sleaze into a ridiculously fun package. Inferno sees a band that doesn’t just mimic the sounds of old but realizes them authentically. Lion’s Share sound spry as ever on Inferno. Vim drives Inferno, bestowing it great volumes of speed (“We Will Rock”), brawn (“Pentagram”), dirt (“Another Desire”) and drama (“Run for Your Life”). Inferno’s biggest surprise is Johansson, who sounds simply robust, and his Dioisms feel more like a feature and less like a caricature than on War and Peace. I think because Lion’s Share is riff-centric, NPJ doesn’t have to carry the material himself and put too much pressure on his voice. When Inferno does call on him to take the lead, the results range from the strained hiccup of “Live Forever” to the chest-pounding victory of “The Lion’s Trial.” But the highlight of Inferno is Chriss’ soloing, which evokes the gnarly excess of Vivian Campbell and Eddie Van Halen in their shreddy melodicism. Lion’s Share may have been away from the studio for some time, but age doesn’t seem to have taken its toll on Inferno. Lion’s Share don’t do much you’ve never heard before, but Inferno is just too fun not to feel like a total victory. There’s little bloat on Inferno, bar some over repetition on “Chain Child” and “Live Forever,” and the mix is clear and dynamic enough for what Lion’s Share do. The hooks are massive without being overbearing: I’ve been humming “Baptized in Blood” and “The Lion’s Share” all week, and “We Will Rock” escapes the knock-off label with a ridiculously catchy verse all of its own. Inferno’s lyrics are silly but delivered so convincingly it rarely comes off as corny but more tongue-in-cheek: when “We Are What We Are” calls for a heavy metal revolution, or NPJ describes himself as the “Anti-Social Warrior” on “Inferno,” I laugh with Lion’s Share. Overall, Inferno crackles and rages with simple heavy metal goodness. Lion’s Share are so easy to root for, and Inferno proves why. Good songs, good performances, excellent solos, and an undying allegiance to their craft make Inferno a blast all around. With how good “Run for Your Life” turned out, however, it makes me wonder if Inferno could’ve ascended beyond mere enjoyability if Lion’s Share went in more adventurous directions in their songwriting. But there isn’t a whiff of pretension on this thing, and I get the sense that this is exactly the record these guys wanted to make. Lion’s Share are probably not going to take the world with Inferno, but if you like your metal loud, beefy, and dated circa 1981, it’s just the record you want to hear.  --- Rating: Good DR: 7 | Format Reviewed: 320 kbps MP3 Label: Metalville Records Websites: lionsshare.org | lionsshare.bandcamp.com | facebook.com/lionsshareband Releases Worldwide: March 27th, 2026 The post Lion’s Share – Inferno Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Lion’s Share – Inferno Review: Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009,… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Dwellnought – Monolith of Ephemerality Review In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return? Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations. Monolith of Ephemerality by DWELLNOUGHT Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof. If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro. And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for. --- Rating: 2.0/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: Caligari Records Website: Album Bandcamp Releases Worldwide: February 20th, 2026 The post Dwellnought – Monolith of Ephemerality Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Dwellnought – Monolith of Ephemerality Review: In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Evermore – Mournbraid Review When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the feels, the crunch of its guitars hit me right in the nuts, and overall, I really enjoyed the record and its beefy, Avantasia-with-the-fat-trimmed-off vibe. While I had some issues with the vocal performance on In Memorium, I saw enough potential in Evermore to be legitimately excited when I saw the promo for follow-up Mournbraid splash into the sump. Once again sporting a be-womaned cover, said promo touts a “sound made of aggressive guitar riffs, soaring epic vocals, and unforgettable hooks—all amplified by a massive, neat production.” It’s a bold claim, but can the music live up to it? It doesn’t take long for that question to be answered. On first proper track “Underdark,” Evermore sounds heavier than ever and hookier than one of those full-body Velcro suits that sticks you to the wall. In the review for In Memorium, I pointed out that that album’s lead single recycled elements of an Amon Amarth song, and interestingly enough, I can make a similar claim this time around, albeit with even more brutal source material; both “Underdark” and its preceding instrumental intro seem to rehash a melody from The Lion King soundtrack. But no worries! Once again, the pieces work so well together to kick things off that I can’t even be mad. If you’re like me, when you saw the color palette used for Mournbraid’s cover art, you expected the music to take a turn for the darker, and if you’re like me, you were right. Each iteration of Evermore gets heavier, while still residing squarely within the confines of “melodic power metal,” and they are undoubtedly at their best when they lean into that heft. The more aggressive tracks, like “Mournbraid,” the aforementioned “Underdark,” “Ravens at the Gates” (whose melo-death riffing places the emphasis on ‘At the Gates’), and my personal anthem for 2026, the Dream Evil-esque “Armored Will,” are Evermore’s sweet spot, and they are only made more powerful by Mournbraid’s stellar production—I can’t remember the last time I’ve heard a guitar tone this mighty. But the deliciousness of the beef makes the blandness of the more subdued side dish all the more glaring. Plopped right in the middle of Mournbraid is “Oath of Apathy,” an unfortunately titled, 7-minute slog of emotion that fails to grab my heartstrings and pulls the emergency brake on the album’s momentum. I won’t count closer “Old Man’s Tale” against Evermore since it’s labeled as a bonus track, but it suffers the same fate, even if it did manage to bring a tear to my eye once when I realized that I am officially the old man in the tale. Fortunately, every other song here is a banger, so I found it relatively easy to overlook this one blunder, although it did keep me from whipping out and slapping down my 4.0. With Mournbraid, Evermore did just about everything I asked them to do. The vocals seemed to work much better this time around, the band dialed up the heaviness, and that guitar tone, oh God, the guitar tone! These guys have struck the perfect balance between savory and sweet in the world of power metal, and not even a mid-album detour from said balance could keep me from enjoying the hell out of this record. Greatness is coming for these guys. I can feel it in my old bones. --- Rating: 3.5/5.0 DR: 7 | Format Reviewed: 256 kbps mp3 Label: Scarlet Records Website: facebook.com/evermoremetal Releases Worldwide: March 20th, 2026 The post Evermore – Mournbraid Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Evermore – Mournbraid Review: When last we saw Sweden’s Evermore, they arrived within these halls, wielding a platter of power metal that was as muscular as it was melodic. The songs on 2023’s In Memorium hit me right in the… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

HamiltonsLive

@hamiltonslive.bsky.social

1 week ago

Moon Far Away – Acou Review As a fledgling metalhead in the 90s and early 2000s, I spent many a day scouring my local record shop for new, interesting bands and artists due to magazine interviews, reviews, and the occasional word-of-mouth treatment from friends and artists alike. This adventurous time period was responsible for my dalliances and appreciation of the world of neofolk. Between the somber atmospheres of Tenhi and the thriving, teeming music of the late Nebelhexë, it opened up new avenues to explore and bands to check out. With this in mind, I decided to tackle Acou, the fifth album from Russian quartet Moon Far Away, only to realize that they’ve been around since 1994 and this is the first time hearing about (or anything from) them. Well, at least I got to finally experience their music, as Acou is a fairly enjoyable album with some interesting angles. After a brief interlude, featuring a lone trumpet and some ambient chantings and melodies, the title track kicks off in earnest, showcasing just why Moon Far Away have earned the reputation as “The Russian Dead Can Dance” as the vocal harmonies of multi-instrumentalist Count Ash and his counterpart (and song lead) Leda intertwine during the chorus over a playful bassline from Zhigich and some driving percussion by Victorion, creating a rapturous atmosphere that also plays homage to their Russian roots. Elsewhere, “Steel Light Love” shows off their more Gothic leanings, with Count Ash taking the lead with Leda softly wailing in the background throughout the song’s majority. On these three songs, the band’s artistic strengths shine brilliantly, giving off the impression that this is a neofolk classic for the ages. Acou by Moon far away The problem is that there are other songs on here, and some of them pull the proceedings down quite a bit. “17 Years” features an older vocalist1 chant-singing partially off-key for over three minutes. Speaking of off-key, Count Ash’s voice on “Look, the Human Flocks…” keeps to a monotone, often at odds with Leda’s angelic vocals, and the song ends without building up to anything. But the biggest issue lies with “Soulofkey,” which starts off promisingly enough, with a haunting piano melody that burrows into your skull. Still, it keeps burrowing, because other than a few key changes, it just keeps going and going and going for the entirety of the song’s seven-minute runtime, losing all potency and interest. At least Acou sounds great from a production standpoint. Zhigich’s bass is thick and meaty, and Victorion’s percussion hits with the impact his performances need. Even the traditional instruments, such as the flute and trumpet, all ring with a stark clarity that’s sometimes missing from neofolk music. I just wish the arrangements and performances were a bit tighter overall, because when Acou shines, it’s with a brilliance that few can match, and that’s no mean feat. And that kills me, as I wanted to like Acou more than I do. When everyone’s on top of their game, Acou is a compelling album that’s teeming with life and vibrancy. But the hiccups on some of the tracks keep my enjoyment tempered, and that’s a shame because Moon Far Away impressed me on their best tracks, and they are giving me a new band to check out in the future. That said, there’s still plenty to like on here, and if you enjoy any of the bands I mentioned above, you could do much worse than what’s on offer here. --- Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Prophecy Productions Websites: Bandcamp | Facebook Release Dates: EU: 2026.03.13 | NA: 03.27.2026 The post Moon Far Away – Acou Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Moon Far Away – Acou Review: As a fledgling metalhead in the 90s and early 2000s, I spent many a day scouring my local record shop for new, interesting bands and artists due to magazine interviews, reviews, and the occasional… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal