Cro-Mags' Harley Flanagan Casts Doubt on Touring Future

Harley Flanagan says he may scale back from heavy touring in future years. Continue reading…

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Disney Just Dropped a Metal-Inspired Villains Merch Collection

Disney just dropped a metal-inspired villains merch collection in the parks that features the Evil Queen in a black metal font, Hades in gothic metal and more. Continue reading…

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Full Album Stream: Various Artists –Death Metal Tribute to Ozzy

Underground DM bands offer their take on classic tracks from the Prince of Darkness on Death Metal Tribute to Ozzy. The post Full Album Stream: Various Artists –Death Metal Tribute to Ozzy appeared first on Decibel Magazine.

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Saprovore – Numinous Abditory Deflagration Review

Numinous (adj.): evoking a sense of the mystical, sublime, or transcendent; awe-inspiring. Abditory (n.): a concealed location used for storage or to hide items (rare). Deflagration (n.): the act of deflagrating; an intense fire; a conflagration or explosion. Specifically, combustion that spreads subsonically via thermal conduction.1 Yup, it’s an I, Voidhanger release. Experimental industrial black/death band Saprovore is an eponymous solo project by the ringleader of Italy’s experimental group Strigiform, also supported by I, Voidhanger. Strigiform’s debut Aconite came out late last year and Saprovore’s debut Unuttered Aporetic Omen dropped this past March, so now I know who’s been hogging all the executive functioning around here. Now, Saprovore aims to build off their debut’s foundation with “a more refined and mindful approach to songwriting” on Numinous Abditory Deflagration. But can Saprovore evoke an awe-inspiring combustion of concealed mystical places with Numinous Abditory Deflagration? Well, Numinous Abditory Deflagration certainly doesn’t sound conventional. A synth-forward, drum machine-heavy electronic affair driven by speedy blackened fury and cavernous deathly density, Saprovore fit well within the I, Voidhanger canon. Drums take on largely black metal stylings, blasting through loud, slightly off-kilter beats as the synthesizers play dueling, drawn-out symphonic parts and Saprovore wretches out heavily distorted rasps on occasion. I’d bet money that Saprovore had every instrument running through every effect pedal they have at some point on Numinous Abditory Deflagration, as every song is sopping wet with reverb, distortion, delays, etcetera. Though Saprovore touted tighter songwriting this time around, Numinous Abditory Deflagration is still free-form in nature, sloshing into and out of parts with minimal transition or (if you’re not listening closely) notice. All this to say, with Numinous Abditory Deflagration Saprovore doesn’t sound a thing like Manowar. Wimps and posers, you’re free to stay. Numinous Abditory Deflagration by SAPROVORE What’s flustered me this whole time with Saprovore’s latest is how something so off-beat from conventional songcraft can also be so bafflingly banal. Numinous Abditory Deflagration sounds like a wreck. An uninteresting wreck. With Saprovore, either almost nothing is happening, or everything is happening. Numinous Abditory Deflagration is either droning aimlessly or stacking unrelated synth leads over crushed drum loops ad nauseum. Saprovore’s melodies are also extremely rudimentary and tame, never reaching for soaring payoffs or even achieving all that much dissonance. This undynamic songwriting approach—echoed by its loud, blown-out lo-fi production—means Numinous Abditory Deflagration lacks true peaks and valleys. Meaning that songs and movements start to blend together after a while. Meaning that, after about a dozen listens to Numinous Abditory Deflagration, I still can’t fucking remember a fucking thing about it afterwards. Numinous Abditory Deflagration’s biggest problem, however, is that Saprovore just runs out of gas after track one. You’ve probably noticed that I haven’t discussed any songs in specific this whole review; that’s because nearly any comment levied on any one song could just as accurately describe any other song off Numinous Abditory Deflagration. Barring the drum and bass break on “Chalice of Spectral Residue” or an eerie key refrain on “Threnody Pt. 1 (Hush-Born),” every song on Numinous Abditory Deflagration is built out of the same few, boring ideas. Listless synths, drawling drum loops, negligible vocals. Speaking of, Saprovore’s vocals exemplify Numinous Abditory Deflagration’s utter banality. Not only are there no variety in delivery, but all but one song uses exactly three blocks of three lines. Barring “Threnody Pt. 1 (Hush-Born),” an instrumental, you get nothing else. If what Saprovore had anything going with Numinous Abditory Deflagration, monotony killed any chance of it meaning anything. I come away from Numinous Abditory Deflagration with the inescapable feeling—one that I know can’t be true, but I feel regardless—that Saprovore spent considerably more time and care with its naming than its composition. More than anything I’ve reviewed during my tenure at AngryMetalGuy.com—even that one—this was the record I loathed returning to the most. Somehow, it gave me less to think about with each listen. Worse, I know Saprovore can do better. Having gone back to Unuttered Aporetic Omen, I disagree that Numinous Abditory Deflagration is the more refined album. Saprovore’s debut has some of Numinous Abditory Deflagration’s problems—its drums sound terrible, too—but there’s identity between songs. Some, at least. It doesn’t feel like listening to a thoroughly busted microwave fuck up a bag of popcorn for nearly fifty minutes, anyway. Was that the real deflagration all along? --- Rating: Unlistenable DR: 7 | Format Reviewed: 257 kbps MP3 Label: I, Voidhanger Records Website: saprovoredeath.bandcamp.com Releases Worldwide: August 7th, 2026 The post Saprovore – Numinous Abditory Deflagration Review appeared first on Angry Metal Guy.

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Exumer's new track, "Allocated Savagery" is now playing!

New record, 'Death Mask Messiah' drops August 28th. Pre-order HERE: https://www.metalblade.com/exumer/

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Video Premiere: Destroy My Brains – “Downgrade”

Canadian sludge merchants Destroy My Brains are preparing to complete a particularly grim long game. The Lloydminster, Saskatchewan/Alberta quartet’s forthcoming album, Wilt, concludes a five-record sequence begun with 2018’s Worthless and continued through InsignifiCan’t, Lifeless and Tormented—the titles’ initials spelling out the name of the final chapter. Before Wilt arrives on August 14, Decibel is... The post Video Premiere: Destroy My Brains – “Downgrade” appeared first on Decibel Magazine.

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Hexorcist – Crucificial Imprecations Review

Florida: birthplace of the first personal computer, endless just-barely-believable news stories, the modern sports drink, and death metal. Since the birth of Florida’s death metal scene in the late 80s and early 90s, the state has produced countless acts of varying quality and recognition. Among them is Hexorcist, forged in Miami’s oppressive heat in 2019. The four-piece released a demo in 2020, followed by debut LP Evil Reaping Death in 2021. Hexorcist subsequently journeyed to the land of splits for a few years, but they’ve returned with their sophomore effort, Crucificial Imprecations. Born in the land of musical giants, can Hexorcist even cast a shadow? Crucificial Imprecations hails from a time when death and thrash were still separating themselves. After a symphonic opening reminiscent of old horror films, Hexorcist nails the gas pedal to the floor. “Crucifical Imprecations” burns and grinds the asphalt as it takes off on the highway to Hell. Like a demon, Mors Ululatus barks and growls his way through track after track of pure, unadulterated hatred for Jesus. In fact, from album art to instrumentals to lyrics, Crucificial Imprecations seems intent on reviving the glorious era of Satanic Panic. If the slimy wet bass that opens “Emissary of Evil” doesn’t send churchgoing mothers clutching for pearls, the hammering snares—driving anxiety up by the 8th note—will. Samples from 1968 cult classic The Devil Rides Out grace the final two tracks (“Unconsecrated Offerings,” “Exordium of Profanation”), and Mors Ululatus finds prime moments to scream in terror like he’s falling into the Lake of Fire itself (“Defacing Deities,” “Emissary of Evil,” “Exordium of Profanation”). Crucifcial Imprecations by Hexorcist It shouldn’t be a surprise given their stomping grounds, but Hexorcist walks closely in the footsteps of Angelcorpse or Monstrosity and anchors themselves firmly in the Florida death metal sound. Riffs are plentiful, as guitarist Maleferious releases one after another, stuffing each song with several worth getting stuck in your craw. His riffs are technical and acrobatic, and his psychotic solo work frequently suffers Deathly convulsions. Bassist Lvctvs sounds thick enough to suffocate even the holiest among us in demonic ichor. When they work in tandem, matching note for note, they create singularly evil and terrifying passages (“Hexorcist”). This is only amplified by Pest’s violent and relentless kit work (“Emissary of Evil, Adverse Sacraments”). Together,1 Hexorcist ensures there’s no hope for escape from this satanic, Floridian joy ride. Hexorcist maintains laser focus from start to finish on their sophomore release, but it’s not always to their benefit. Early in my time with Crucificial Imprecations, I thought the back half sagged, but that’s not exactly true. I realized that Hexorcist’s intensity and consistency, in a critical setting, ends up fairly monotonous. The problem here is that, regardless of how the tracks are ordered, Crucifical Imprecations starts to become a slog after any four of its eight tracks. Don’t misunderstand—this is some killer death/thrash, but across eight tracks of similar pacing, similar drumlines, similar basslines, similar solo structures, similar vocal delivery, it all blends together. Even though Crucificial Imprecations clocks in at a very short 30 minutes, the lack of identity from track to track makes it a much tougher listen than that length would suggest. Hexorcist doesn’t exactly break any new ground here, but they do get my blood pumping pretty well. They were a no-brainer to throw on while working or driving or running errands. It wasn’t until I sat down to take some notes that I struggled with Crucificial Imprecations. Each track on Crucifical Imprecations is pretty tasty on its own, but the album is a bit of a one-trick pony. Where the forebears of the style experimented with mid-paced tracks and even slowed things down to a doomy crawl, Hexorcist lets off the gas exactly never, and there’s precious little variety to keep me engaged from start to finish. My playlists will benefit greatly from Crucificial Imprecations’ choice cuts, but I don’t see myself returning to the album as a whole. --- Rating: 2.5/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Invictus Productions Websites: Album Bandcamp | Facebook Releases Worldwide: July 31st, 2026 The post Hexorcist – Crucificial Imprecations Review appeared first on Angry Metal Guy.

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Stuck in the Filter: May 2026’s Angry Misses

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate. So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD! --- Kenstrosity’s Thrashed Thrall Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released] Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see! Crepuscular Gloom by Ascended Master --- ClarkKent’s Prehistoric Pulls Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records] Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm. Ilienses Tree – Toward The Storm | MMR075 by Ilienses Tree Anna Fiori // Metztli [May 21st, 2026 – Self Released] Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride. Metztli by Anna Fiori --- Grin Reaper’s Spring Fling Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records] There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet. Lago // Vigil [May 8th, 2026 – Everlasting Spew Records] Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago. Vigil by Lago Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records] As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint. Down the Wire by Redshift --- Spicie Forrest’s Nostalgic Nugget Haste the Day // Dissenter [May 1st, 2026 – Solid State Records] I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane. The post Stuck in the Filter: May 2026’s Angry Misses appeared first on Angry Metal Guy.

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Full EP Stream: Visceral Contempt – “Sequester”

Eindhoven hardcore unit Visceral Contempt debut their new EP, Sequester. The post Full EP Stream: Visceral Contempt – “Sequester” appeared first on Decibel Magazine.

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Blast Worship: Gets Worse

Guitarless Leeds powerviolence force Gets Worse are back and worser than ever on No Bones. The post Blast Worship: Gets Worse appeared first on Decibel Magazine.

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The Night Eternal unleashes a new single! Experience "The Veins of Time"!

New album, 'Cold Velvet' drops August 21st! Pre-order your copy HERE: https://www.metalblade.com/thenighteternal/

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The Night Eternal - The Veins of Time (Official Video)

Buy here: https://www.metalblade.com/thenighteternal With "Cold Velvet" the band has ultimately carved out its own subgenre, weaving darkness, dreamlike unease and deep melancholy into a dramatic yet untainted Heavy Metal Rock 'n' Roll attitude. Recurring trademarks such as hypnotic, ritualistic rhythms, mesmeric guitar riffs and melodies, and irresistibly catchy choruses permeate every track - drawing the listener into a trance-like state and unleashing a relentless surge of dark energy and dopamine. "With this album we set out to open a new musical chapter in the story of The Night Eternal. Each song stands strong on its own, yet together they form a cohesive narrative - unfolding through rising tension, shifting atmospheres, and unexpected twists and turns that guide the listener from beginning to end." "Cold Velvet" was recorded between May and December 2025 at Church Of Sound Studios in the greater area of Munich, Germany. Production, recording and mixing duties were handled by Michael Zech - guitarist of Black Metallers Secrets Of The Moon and a highly respected producer known for his work with Sulphur Aeon, Triptykon and The Ruins Of Beverast among others. Due to extended breaks of up to two months in between the recording sessions, the band was given the rare opportunity to let the songs breathe, mature and evolve naturally over time, continuously adding new layers and details. "In contrast to our previous albums, which relied heavily on guitar plugins, the new record captures the sound of real amplifiers running through an analog mixing console. In total, we used six different amps, constantly searching for the right character and atmosphere for each additional layer. Finding the perfect tone not only shapes the music itself but also brings a noticeable boost of confidence during the recording process." As a musician and guitarist himself, Zech brought a deep understanding of the artistic vision behind the material. For the first time during an album recording process, there was a genuine sense of being fully understood on a musical and emotional level. At a certain point, he felt less like an external producer and more like an additional band member - a connection that can clearly be heard throughout the record. "One particularly exciting aspect of our collaboration with Michael was that he has predominantly worked with black and death metal bands in recent years. This gave the entire recording and mixing process a fresh and distinctive energy, as many of his ideas felt both renewed and uniquely inspired - marking one of his first returns to an '80s-inspired classic heavy metal sound in quite some time." Conceptually, the album was conceived as a bridge from "Fatale": allowing the band and its music to develop naturally, explore new atmospheres, grow in maturity and ultimately manifest a sound that is unmistakably their own. What emerges is not simply an evolution, but a clear statement of identity - this is, without question, The Night Eternal! "With 'Cold Velvet' we wanted to unleash our full potential and craft a record built entirely from setlist stayers - songs that flood your bloodstream with adrenaline from the very first note. A band's third album is often seen as a defining moment, so we decided to trust the natural flow and sharpen our trademarks even further. To us, 'Cold Velvet' is ultimately about one thing: authenticity." LYRICS: Time runs in circles, and though I’m losing you. Your shadow flickers so far away, in the dark. Chasing your echoes across the silver streams. And every heartbeat on your way leaves its mark. Time it twists, I can’t let go, Your shadow fades, where I’m too slow. Through the veins of time, I’m searching. It’s you I see at night, the truth I’m dreaming of. Through the veins of time, I keep on racing. Through the endless skies. The truth I seek at night. Time bends around me, and still I’m losing you. Your silhouette keeps fading away in the dark. My spirit is longing to get through to you. Though all the night conspires to keep us apart. Time it twists, I can’t let go, Your shadow fades, where I’m too slow. Through the veins of time, I’m searching. It’s you I see at night, the truth I’m dreaming of. Through the veins of time, I keep on racing. Through the endless skies. The truth I seek at night And through the endless night. I’m wandering, chasing the shadows in the dark. And if the dawn should find me sleeping, dwelling. Let the stars decide my fate. Until the end of times, I’m fading, blinded, forever lost beyond the skies.

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NUNSLAUGHTER Premiere Exclusive New Song, “Undead Melody,” via the Decibel Flexi Series!

Acquire this exclusive new flexi disc single from death metal cult heroes Nunslaughter before the issue containing discs are sold out for good! The post NUNSLAUGHTER Premiere Exclusive New Song, “Undead Melody,” via the Decibel Flexi Series! appeared first on Decibel Magazine.

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Exumer - Allocated Savagery (Visualizer)

Buy here: http://www.metalblade.com/exumer "Death Mask Messiah," which marks the band’s first new studio output in seven years, further cements EXUMER’s legacy as a dauntless thrash metal institution. A logical and compelling progression from the German legend’s three previous albums, the 11 ferocious songs, produced by Dominic Paraskevopoulos (Kreator, Caliban) and mixed and mastered by Arthur Rizk (Soulfly, King Diamond), take a more brutal and direct musical approach. “We are a lot more aggressive than on Hostile Defiance and are returning to a more ‘in your face’ style on Death Mask Messiah,” confirms co-founding vocalist Mem V. Stein. “We’re furthering the process that began with our first offering for Metal Blade, 2012’s Fire & Damnation, where we wanted to sound like a contemporary band while maintaining the spirit and our musical heritage of the 1980s.” LYRICS:Dim the lights follow me, set on all your sights Break it down hallowed ground (you) won’t come out alive As you squirm (your) blood runs out fatal gunshot wound Tender laugh pain shoots in racing to your doom DEATH COMES FAST AS YOU SEE FABRICATED REALITY MEASURED IN MY HONESTY ALLOCATED SAVAGERY Close the curtains – greet the serpents – let them die No one cares as they slay cannons blow all night ATF at your door braking codes of fight Lay your arms heed the call or you will die Simple truth of this land deceit (and) all them lies DEATH COMES FAST AS YOU SEE FABRICATED REALITY MEASURED IN MY HONESTY ALLOCATED SAVAGERY Close the curtains – greet the serpents – let them die Face down in the ground kill shots on and on X2 Blast off as it sounds kill shots on and on X2 Shut the lights follow me, set on all your sights Break it down holy ground (you) won’t come out alive As you plead (your) blood runs out fatal gunshot wound Tender laugh pain shoots in racing to your doom DEATH COMES FAST AS YOU SEE FABRICATED REALITY MEASURED IN MY HONESTY ALLOCATED SAVAGERY Close the curtains – greet the serpents – let them die

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Labor of the Negative – The Triumph of Time and the Disillusioned Review

Critique requires work. This is a truth understood by the AMG reviewer, Hegel, and Labor of the Negative. An international black metal project, Labor of the Negative derives its name from Hegel’s Phenomenology of Spirit, which posits said labor as a cognitive antidote to romantic truths found via intuition. Not content to let Hegel be the only George Friedrich they cite, the band references The Triumph of Time and Disillusion, a Händel oratorio, for the title of their debut. Arriving via I, Voidhanger Records—the perfect home for Labor of the Negative’s heady brand of avant-garde black metal—the album draws philosophical inspiration from more than Hegel: Nietzsche, Kierkegaard, and especially Durkheim (as we’ll see).1 But I’ll be sticking with Hegel, letting his infamous dialectic—thesis, antithesis, synthesis—guide my analysis and evaluation of The Triumph of Time and the Disillusioned. But first, some context. Boasting members from Portugal, the UK, Norway, and Egypt, Labor of the Negative cross-reference genre luminaries in assembling their own bizarre bricolage. Claiming roots in the avant-garde black metal of Virus, Arcturus, and Dødheimsgard, guitarist S. and drummer T.Z. lay a foundation of trem riffs and blast beasts, phaser-drenched disso-melodies and double-bass-fueled tom-work. Thankfully, bassist J.H. doesn’t get lost in the mix, especially in making pulsating shifts from menacing to jazzy gears. In these softer sections, brass instrumentation (presumably from guest musician S.L.) takes the spotlight, giving this otherwise chaotic album a counterbalancing sultriness.2 The artsiness of The Triumph of Time and the Disillusioned, however, primarily stems from the deranged vocals of M., who screams, howls, shouts, grunts, and coughs. M.’s performance, wielding the human voice as an abrasively multifaceted instrument, reminds me of how A Forest of Stars and Portal similarly embrace alienating vocals. Not as alienating as one might expect is the production, feeling legibly claustrophobic during the black metal maelstroms and organically spacious during the jazzy reprieves. The guitars do get a little buried at times, and snare pops occasionally prickle the ear. Nevertheless, The Triumph of Time and the Disillusioned succeeds at sounding like sculpted estrangement. The Triumph of Time and the Disillusioned by LABOR OF THE NEGATIVE Turning now to my Hegelian thesis means turning to The Triumph of Time and the Disillusioned as a whole. Holistically, the album provides a mostly enjoyable experience, considering its subgenre. At 7 tracks in 34 minutes, Labor of the Negative smartly chose to make their debut a concise burst of avant-garde black metal. Six successive “Epoché”s structure The Triumph of Time, each being of similar, digestible lengths (4–6 minutes). An instrumental interlude (“151 – The Eternal Present and the Endless Dream”) breaks up the procession of epochs with feedbacky noise and variegated drumming. The album consistently ebbs and flows between scathing black metal and soothing jazz breaks that open (“Epoché II”), close (“Epoché IV”), and bridge (“Epoché III”) the madness. While this interplay keeps the album sonically dynamic, it also becomes a bit formulaic. This holistic predictability leads us to my antithesis. When pressed upon, none of the individual tracks on The Triumph of Time and the Disillusioned stand out. Pre-release single “Epoché III” comes closest, with its eerie guitar shimmers and adventurous key changes. But ultimately, the album feels less like a sequencing of memorable songs and more like a collection of cool moments: the squealing brass solo in opener “Epoché I” comes to mind, as does the concluding drumroll of “Epoché VI.” One might think that diving into The Triumph of Time’s concept can clarify how the parts contribute to the whole. Alas, my exploration of the lyrics created more confusion. According to my research, “Epoché IV” twice cites Durkheim to convey crises of belonging and aimlessness. How this relates to a succession of epochs, or a fourth epoch in particular, I am unsure.3 Synthesizing the good album experience and the disappointing songwriting, The Triumph of Time and the Disillusioned ultimately landed for me as a mixed affair. While I never truly disliked any time I spent with Labor of the Negative’s debut, I also never found myself desiring to further unpack this album that, seemingly, invites unpacking. Fans of avant-garde black metal, however, should give The Triumph of Time a go. M.’s maniacal vocals strike me as a worthy intervention into the genre, as does T.Z.’s dexterous drumming. With more ears, perhaps the fruit of this international collective’s labor might positively reveal itself. --- Rating: 2.5/5.0 DR: 10 | Format Reviewed: 256 kbps mp3 Label: I, Voidhanger Records Website: Bandcamp Releases Worldwide: August 7th, 2026 The post Labor of the Negative – The Triumph of Time and the Disillusioned Review appeared first on Angry Metal Guy.

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Big Rock + Metal Moments That Happened at Lollapalooza 2026

Who says there is nothing for rock and metal fans at Lollapalooza? Continue reading…

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Viral Lollapalooza 'Pee Bag' Has Live Music Fans Pissed Off

Fans have shared their disgust after video of a bag of urine being passed through the Lollapalooza crowd went viral this weekend. Continue reading…

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Video Premiere: Projector – “Living Resources”

Chilean melodic death metal masters Projector have frosty Swedish vibes on new single, "Living Resources." The post Video Premiere: Projector – “Living Resources” appeared first on Decibel Magazine.

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Your silence screams louder than words | North Sea Echoes' new record is now streaming!

Taken from their new album, 'How to Cast a Shadow" - OUT NOW! Order your copy/listen here: https://www.metalblade.com/northseaechoes/

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Cairiss – Wilderness Review

Towards the tail end of last year, a humble group from the UK called Asira shook up my top ten list. Little did I suspect that I would hear from some of these fine musicians again so soon. Five out of the six members of the blackgaze band Cairiss contributed in some way to As Ink in Water, and now they break a decade-long silence since debut album Fall. Wilderness seeks to express and overcome personal trauma and suffering while also validating those of its audience who are waging their own solitary or unseen battles. As such, this work of art transcends sole beauty or entertainment value to extend an invitation to process and heal in whatever way may be personally needed. Wilderness is both a continuation and amplification of the potential teased on Fall. Cairiss remains rooted at the intersection of the gossamer elegance of Sylvaine and the blackened anguish of Unreqvited. This is an uncommon type of blackgaze that successfully flits between grandiose and intimate. Freya Brown, who previously handled all vocals, is now devoted primarily to those of the harsh variety.1 Her hard work paid off—her snarls and screams are much sharper, more expressive, and more dynamic all-around. Newcomer Lydia Williams takes charge of the clean singing with similarly breathtaking results. Additionally, the instrumental melodies are more poignant; hints of Asira’s and Opeth’s soulful, progressive guitarwork can be found throughout Wilderness (“The Guide,” “Dissociate”). Wilderness by Cairiss In my review of As Ink in Water, I noted that Asira showed a mastery of contrast, and this is even more true of Cairiss. It’s particularly evident every time the different vocalists overlap. When Lydia’s operatic singing crests into view in “The Guide” and interlaces with Freya’s fierce growls, the effect is chill-inducing. On the mellower side, “Integrate” brings Martin Williams’ voice to the forefront for the first and only time on Wilderness as he and Lydia harmonize into a blissful siren song. But perhaps no song encapsulates Cairiss’ wondrously dichotomous nature more than album closer ‘Wildfire.” It sounds like Freya poured every ounce of feeling she possessed into each syllable of her screams, which are periodically assuaged by soothing singing and an emotive guitar solo. I’m impressed by how well Cairiss can bring together such opposing elements without one ever overwhelming the other. Wilderness is also well-balanced in other ways. This is a carefully constructed album wherein every moment serves a purpose. None of the songs ever stall or dissolve into aimlessness. Crescendos and climaxes arrive and depart in a smooth, natural flow (“Retrace,” “The Guide,” “Dissociate”), facilitated in large part by Connor Frapwell’s percussion. He excels at building and releasing dramatic tension, evoking the ebb and flow of a thunderstorm in “Retrace” and helping the extended intro of “Nervosa” feel much shorter than it is. The total runtime is a sensible 43 minutes, suggesting a good deal of self-editing, and I’m left wanting more as the final howl in “Wildfire” dies. If I have any complaints about Wilderness, it’s that I wish that the bass lines were a bit more prominent. Time does not heal all wounds. Some must be confronted head-on, and that is what Cairiss does heartwrenchingly and unequivocally. While I wish that it had not needed to be born from a place of such anguish, Wilderness is one of the most authentic and cathartic pieces of music I’ve heard this year so far. Cairiss has leveled up considerably in the last ten years, each member’s individual strengths shining brightly in a musical subgenre where contrast is intrinsic. Fans of blackgaze—or the beautiful sides of metal in general—should heed the beckoning to venture off the beaten path into the Wilderness.  --- Rating: 4.0/5.0 DR: 7 | Format Reviewed: 192 kbps mp3 Label: Self-Release Websites: cairiss.bandcamp.com | facebook.com/Cairiss Releases Worldwide: July 31st, 2026 The post Cairiss – Wilderness Review appeared first on Angry Metal Guy.

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Interview: Dark Funeral Guitarist Lord Ahriman on New Live Album, ‘A Beast to Praise’

Dark Funeral guitarist Lord Ahriman discusses the band's new live record and progress on their next studio release. The post Interview: Dark Funeral Guitarist Lord Ahriman on New Live Album, ‘A Beast to Praise’ appeared first on Decibel Magazine.

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I've worn you like a golden crown. | One last dive into Entheo's "Golden Crown"!

New album, 'Empty on the Inside' drops October 23rd. Pre-order HERE: https://www.metalblade.com/entheos/

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Altarage – Cogwheel Review

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office. Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again. Cogwheel by ALTARAGE Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent. And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener. What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success. --- Rating: 2.5/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: Sentient Ruin Laboratories Website: Official Album Bandcamp Releases Worldwide: July 31st, 2026 The post Altarage – Cogwheel Review appeared first on Angry Metal Guy.

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ROOTS of Thrash Metal Veterans 1986-2026 | on SiriusXM

ROOTS of Thrash Metal Veterans 1986-2026 | on SiriusXM Week of August 1, 2026 Sat 8/1, 6PM ET Sun 8/2, 1PM ET Mon 8/3, 9AM ET Tues 8/4, 4PM ET Thurs 8/6, 9PM ET Twenty twenty-six has brought an onslaught of new releases by thrash metal veterans. This week we review the lessons of decades of experience by comparing 1986 and 2026 releases by Megadeth, Anthrax, Exodus, Sodom, Sacrifice… Source

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Inscribed – Upon the Twisted Throne Review

If you love Atheist and always hoped they would release music less subtle than Piece of Time, you’re in for a fucking treat. Inscribed’s debut Upon the Twisted Throne bursts at the seams with oodles of noodles and rippin’ death thrash, and its trappings are olde and raw, evoking aesthetics from a time long before this Miami sound machine was conceived. What Inscribed lacks in restraint, though, they counterbalance with white-knuckle enthusiasm as they barrel through nine bite-sized, bass-fraught knots of labyrinthine compositions. 2026 has witnessed a slew of exciting thrash and thrash-adjacent platters already, but when all is said and done, will Inscribed sit Upon the Twisted Throne and claim the crown? Though I consider Inscribed’s debut to be more thrash than death, Upon the Twisted Throne skirts many of thrash’s conventions. First, the band inhabits an interesting arena where the trademark palm mutes and chugs withdraw to make room for Inscribed’s guitar ‘n’ bass bonanza. Besides Atheist, Evie Austin’s ebullient bass recalls Cannibal Corpse’s Alex Webster and ex-Death, ex-Sadus bassist Steve Digiorgio’s frenzied fretwork, awhirl with ever-shifting moods and grooves. On guitar, Mario Alvarez occasionally röars into a Voivodian dimension via erratic riffing (“Demolition Zone”) and everything-but-the-kitchen-sink anarchy (“Time Still Passes”),1 while elsewhere he leans into Nocturnus-tinged eruptions and flurries (“On the Stage of Death,” “Evasive Mind”). Lucas Moore, the third leg of Inscribed’s tenacious tripod, pulls double duty on drums and vocals, sounding a dead ringer for Destruction’s Schmier with his sufficiently nasty growls while supplying a gnarly drum performance to boot. All told, the sheer aural audacity that Inscribed showcases is dazzling, and regardless of the influences they conjure, the end result downright sizzles. Upon the Twisted Throne by Inscribed Inscribed’s performances delight across Upon the Twisted Throne, where no one lets off the gas for thirty-four minutes straight. Austin’s low-end machinations struck me hardest my first time through Throne, where she plucks, pops, and punches with an insatiable lust for MOAR. Her style solidly inhabits lead bass territory, effectively sharing duties with Alvarez, and together their tandem begets a heady brew. The opening salvo of “Inquisition for Hatred,” “Machinery of War,” and “Demolition Zone” wallops with unconventional structures and protean songwriting that never settles in one place before Upon the Twisted Throne twirls you in another direction. And really, the album does this its entire way through, never content to lock in on a melody or riff before jumping to another. In this way, Upon the Twisted Throne reminds me of Megadeth’s debut, where Inscribed packs in an album’s worth of seeds and ideas into each track. On one hand, this approach makes for listening that quakes with possibilities and rewards repeated spins, but it also erodes the memorability of individual riffs and songs. Inscribed covers an immense swath of notes in just over half an hour, cementing Upon the Twisted Throne as a vibrant debut. The production is raw yet clear, allowing listeners to pick out guitars, bass, drums, and vocals at any given moment. This is fantastic news given Inscribed wrote an album that oozes fun and intricacies worth exploring again and again. And though sometimes ‘fun’ can be code for silly, there’s nothing unserious about Upon the Twisted Throne. That said, there is an opportunity to hone the songwriting and give individual tracks more distinct identities, as Inscribed’s pure exuberance can make it difficult to latch onto specific passages. Still, the album is crafted with such blatant love for inspirations that the music becomes obscenely contagious. Upon the Twisted Throne quickly wormed its way into my ever-expanding 2026 thrash cache, where my favorite genre-specific releases get abused when I want to bang my head with a cold one (or two) in tow. Given the runway ahead of these precocious metalheads and how well they’ve coalesced in so short a time, Inscribed has potential written all over them. I’ve greatly enjoyed my time with these Florida folks, and if you’ve got the fortitude for a quick sesh of fiery death thrash, I highly recommend you pop a squat Upon the Twisted Throne. --- Rating: Very Good DR: 8 | Format Reviewed: 320 kbps mp3 Label: Awakening Records Websites: Bandcamp | Facebook | Instagram Releases Worldwide: June 19th, 2026 The post Inscribed – Upon the Twisted Throne Review appeared first on Angry Metal Guy.

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Biggest Rock + Metal Albums Released Each Day in August History

Some of the most beloved albums from Metallica, Pearl Jam and Black Sabbath were all released in August. Here is a look at the best from each day. Continue reading…

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AMG’s Unsigned Band Rodeö: Beware of Gods – Upon Whom The Last Light Descends III: Behead The Oracle

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.” Flying well under the radar, Illinois-based psychedelic sludge/doom metal duo Beware of Gods would’ve released their third installment in their Upon Whom the Last Descends series, entitled Behead the Oracle in such complete obscurity that even Metallum doesn’t know about it yet. But thanks to our resident sludge expert Cherd, Behead the Oracle entered our consciousness just in time for an assortment of ne’er-do-wells to offer their entirely unearned judgment of its mettle. Little do the Gods know that when they enter the realm of dogs, there be risk of piles. Good luck out there, and may your souls be spared. –Kenstrosity Beware of Gods // Upon Whom The Last Descends III: Behead The Oracle [July 10th, 2026] --- Grin Reaper: Beware of Gods throws a lot of labels into their description of Upon Whom the Last Light Descends III: Behead the Oracle,1 all of which are apt. Cinematic, progressive, doom-laden metal toeing the line between sludge and post furnishes a rich backdrop where Beware of Gods details a dystopian narrative with elements like machine messiahs and the illusion of free will. Conceptually, this environment will feel familiar to fans of Fear Factory and The Matrix, but musically Behead the Oracle lands in an industrial-tinged sludge trudge that often reminds me of a doomy Nine Inch Nails (“Secondary Drowning,” “Disenchanted Enchanter”), even down to The Archetype’s Reznor-like croon. Instrumentally, Beware of Gods delivers convincing performances in service to Behead the Oracle’s story, where guitars and bass swell and groove in a deftly-mixed soundscape. Unfortunately, Behead the Oracle suffers a fatal flaw when it comes to length, compounded by a few tracks that can be challenging to listen to over repeated spins. “The Ghost of a One-Armed Comedian” draws my biggest complaint, as it’s a six-minute plod featuring a meandering voice-over that would be more effective if chopped in half or cut altogether. Meanwhile, closer “Starve My Eyes That I May See” drags an already overlong album on for another ten minutes. Ultimately, Beware of Gods delivers good ingredients undercut by an unsavory length and a few skippable tracks, but exhibits enough talent and intriguing ideas that I’ll check out whatever divine warning they offer next. Mixed. Upon Whom The Last Light Descends III: Behead The Oracle by BEWARE OF GODS Spicie Forrest: The concept album strikes again! Centered around protagonist I, Nomad, Beware of Gods’ third LP, Upon Whom the Light Descends III: Behead the Oracle travels through an industrial, post-collapse hellscape. The album’s cinematic trappings of remind me of IPs like Mad Max, Fallout, and Casshern Sins, making Descends III feel more like the soundtrack to an unwritten movie than a typical album. Primary creative force The Archetype weaves riotous, stimpak-fueled sludge (“Tectonic Boogie with the Grief Eater”), the hard-boiled spoken word of seedy, smoke-filled hideouts (“The Ghost of a One Armed Comedian”), and 90s nu-metal (“Behead the Oracle”) into a surprisingly singular vision. While there are a lot of styles on display here, they’re stitched together well, with theatrical threading embodying the irreverence necessary to survive such a hopeless world. And for such a range of metallic styles, The Archetype’s pipes rise to each occasion and complement the music suitably well. I particularly enjoyed my nerves patiently fraying at the atonal hammering of “Disenchanted Enchanter” and “Starve My Eyes That I May See,” but those two are the longest tracks on the album, and they—along with a couple others—struggle to support their own weight. And while I can understand the narrative demands of Beware of Gods’ vision, getting through Descends III in one sitting proved a struggle, largely due to having three interludes (“Conflict Code_Cursed Blessed,” “Dead Radio Daylight,” “Correction Code_Pre-emptive Strikes Against Prophecy”). Nevertheless, of 56 minutes, there’s about 40-45 minutes of solid material here. 2.5/5.0 Sentynel: I know it’s a cliché for this sort of stoner-psych music, but wow, Behead the Oracle has a problem with songs that don’t go anywhere. I was misled by Beware of Gods’ promise of “cinematic sci-fi doom/post-metal,” but make no mistake: under the Scooby-Doo mask is but a meandering stoner album with a slight industrial edge to its sound palette. It sounds like it wants to be Isis (“Conflict Code_Cursed Blessed”) by way of Mutoid Man (“Tectonic Boogie With the Grief Eater”), with a reference here or there to Kyuss/QotSA (“Dead Radio Daylight”). But we’ve hit the fourth track (“Ocean of Teeth”) before we get a song with any trajectory at all. And that’s only if you survive the six minute spoken word plod of third track “The Ghost of a One Armed Comedian,” which will certainly haunt me. The rest of the album serves up an interlude and a repetitive Monster Magnet offcut for every additional track with any interest at all (“Disenchanted Enchanter,” “Dethroning the Delusion”). There’s lots of things I should like here, and when I put this on in the background it was very easy to tune in occasionally and hear something vaguely interesting. Actually sitting down and listening to the whole record, on the other hand, was a slog. Bad. Alekhines Gun – Utilizing a flair for concept and story telling usually found in post-hardcore, Beware of Gods has emerged with a djenty, doomy, ethereal release. Fusing slabs of Conan heft with post-metalisms and a fantastically varied vocal approach from “The Archetype”, Upon Whom the Last Light Descends II: Amnesia Island is a real mixed bag of a listen. The vocals do a good job at selling the story, as our Archetype bounces from the expected howls and yowls to full on cleans and spoken-word passages, conveying a narrative to suit the ever-shifting soundscape. Upon Whom is definitely a journey, and an engaging one, though how gripping you find it depends entirely on what you’re looking for. It’s rather light on real riffs or songs of memorability, in the traditional sense, though some real might rears its head in the grin-inducingly titled “Tectonic Boogie with the Grief Eater”, and particularly in “Ocean of Teeth (Haunted by the Glimpse of a White Light)”, the highlight of the album. But what it might lack in the brutz it makes up for in sheer personality and charm, inviting one to listen in on the bizarre and inscrutable exploits of one armed comedians one minute, only to hear the bluesy laments of a “Disenchanted Enchanter” the next, with just enough curb stompage to keep boredom from setting in. Worth a few listens, but not casual ones; really lock in and let this light descend all around you. 3.0/5.0 Kenstrosity: I wasn’t sure what to expect from Beware of Gods when they were brought to my table. Despite a fair bit of lead time, it took a while for me to wrap my head around what Behead the Oracle meant to be, what it meant to achieve. An unexpectedly fluid mix of NIN-esque industrial with Mastodonic sludge and Psychonautic post-metal, slowed down to a doomed crawl and enriched with bouts of poetic spoken word, Behead the Oracle hypnotizes as often as it confuses. With hooky tracks like “Tectonic Boogie with the Grief Eater,” “Ocean of Teeth,” and “Secondary Drowning,” Beware of Gods makes a compelling showing in the style. Competent and varied vocals blend with trippy riffs and eerie melodies in these stronger cuts to create a kaleidoscopic, but dense and dark, bluesy shroud that envelops the senses. In other areas, like the spoken word “The Ghost of a One Armed Comedian” or the overlong “Disenchanted Enchanter” and meandering closer “Starve My Eyes That I May See,” Beware of Gods loses traction as muddy storytelling and abstract character development obfuscate the record’s message in flowery language, repetitive songwriting, and lack of propulsion. Over time, though, I found myself growing more curious to understand this enigmatic record, and found substantial enjoyment in the way it flows despite its lumbering pace and occasionally monotonous sequences. It’s possible that Behead the Oracle is a bit too smart or abstract for its own good, which makes connecting more deeply with its story a challenge. Nonetheless, it’s a curious and layered affair that deserves a spin or two even if it never finds permanent residence in your rotation. Mixed. The post AMG’s Unsigned Band Rodeö: Beware of Gods – Upon Whom The Last Light Descends III: Behead The Oracle appeared first on Angry Metal Guy.

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13 New Rock + Metal Tours Announced This Past Week

This week featured new tour announcements from Godsmack, Story of the Year, Agnostic Front and more. Continue reading…

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2 Cinderella Members ‘Ready’ for Band to Tour Again

Cinderella drummer Fred Coury shares his hope that the band will reunite to play some shows together. Continue reading…

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Five For Friday: July 31, 2026

Hey everyone. It’s a sad day for the Decibel family, as one of our own has suffered a tragic loss. Many readers will recall our interview with Krieg frontman and Decibel contributor Neill Jameson, in which he detailed his wife Nikki’s long battle with cancer, his daughter’s autism diagnosis, and a tidal wave of disasters with his house and financial... The post Five For Friday: July 31, 2026 appeared first on Decibel Magazine.

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