For many, the mention alone of “YouTuber music” evokes a sudden and potent nausea. Historically tacky, poorly conceived or just plain bad, these projects are so often killed at conception if not by a lack of talent or vision then by the sin of vanity, assembled too self-consciously to leave any real impression. The music is only another extension of their online celebrity and, man, does it sound like it. Petrified Giant,1 formed by the guitar duo of online funny guys Dave McElfatrick (Cyanide & Happiness) and Lyle Rath (Wrathclub, OneyPlays), are not like those other guys. To the contrary, Petrified Giant’s debut Endless Ark just rocks. A thoroughly egoless affair of groovy, thrashy, expansive and riffy goodness, Endless Ark is some of the most fun metal music of 2025. Endless Ark is brimming with ideas and ludicrous talent, but Petrified Giant’s artistry lies in always keeping the songs first. McElfatrick’s rhythmic riffing is chock-full of embellishments and gnarled turns while Rath’s leads and solos twist in wonky yet melodic manners reminiscent of Xoth,2 but never to gratuitous excess. Though Petrified Giant reveals a progressive, symphonic flair on longer tracks like “Dollmaker” and the title track (the chorus of which sounds straight out of the Seven Spires playbook), Endless Ark is a mean, focused attack on thrash bruisers like “The Blacksmith” and “Death and Taxes.” This expansive yet fatless songwriting carries over into whatever creative direction Petrified Giant takes, whether it be the jaunty power metal leanings of “Flesh Born of Flesh,” the electronic forays of “Traitorous,” the gothic atmospheres of “Dollmaker,” or the prog-power balladry of “Martian Winds” and “Mama.” Even at its heaviest (“Death and Taxes”), Endless Ark overflows with variety and hooks, whic,h when coupled with the aforementioned tight, expressive compositions, make for a most memorable listening experience. Endless Ark by Petrified Giant But if Petrified Giant was intended as a vanity project for McElfatrick and Rath, then they royally screwed up by bringing on vocalist Mardy Leith (Dragoncorpse), because he just about steals the show. Across Endless Ark, Leith puts on a clinic for diverse, theatrical, and technically proficient vocals, meeting the needs of whatever wild turn Petrified Giant takes and upping the ante. He reminds me of Protest the Hero’s Rody Walker in this way. Whether belting out impassioned cleans on “Martian Winds,” switching between singing and screaming at will on “Flesh Born of Flesh,” owning both brutal death vox and 80s-coded air raid wails on “The Blacksmith,” or going full-on manic on “Godless Sky,” Leith holds it down resplendently. Leith’s contribution to Endless Ark’s personality cannot be understated, as his evocative performances bring to life both Petrified Giant’s fun, campy horror songs like “Flesh Born of Flesh” and “Dollmaker” and their furious, real-world ragers like “Death and Taxes” and “Traitorous.” Endless Ark would’ve been a very good and enjoyable record without Leith; with him, Petrified Giant are an unmitigated blast. One of my biggest fears during my N00b period this year was that I wouldn’t be able to cover Endless Ark by the time TYMHM season rolled around. Petrified Giant came out swinging, putting out one of the year’s greatest debut records. It’s not perfect—the programmed drumming definitely sounds programmed and the title track isn’t quite as tight as everything else—but the shortcomings of Endless Ark pale before its sheer exuberance and sense of adventure. When other ‘Tubers put out mere content to forward their individual careers or stroke their egos, Petrified Giant gives us an album. Get on the Ark, friends. Tracks to Check Out: “The Blacksmith,” “Dollmaker,” “Death and Taxes” and “Traitorous.” The post Petrified Giant – Endless Ark [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

As the curtain closes on 2025, join us in requiem as we celebrate some of the year's finest black metal releases. The post Five For Friday: Black Metal 2025 appeared first on Decibel Magazine.

All ticket options for Decibel Magazine Metal & Beer Fest at the Fillmore Philly on May 2-3, 2026, featuring Power Trip, Municipal Waste, Kylesa, Cryptopsy and WAY more, are on sale NOW. The post All Tickets Options for Decibel Metal & Beer Fest: Philly 2026 ON SALE NOW! Show Now All-Ages! appeared first on Decibel Magazine.

“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.” Though it may present a bit hyperbolic to say that Poland’s black and death metal scenes trample those of many other countries, the tension of young fervor and tradition weighs heavy in the hearts of riffslingers with something to say. We don’t wish turmoil on anyone, but with great struggles often comes an urge for loud, clear, and calamitous expression. New to the scene, Tarnobrzeg’s Blindfolded steps forth with their debut full-length What Seeps through Threads, a culmination of deathly tactics learned and refined over the course of their six years as a band. Boasting a range of influences from the swinging low-end drama of Gojira to the tumultuous fretboard fire of Decapitated, Blindfolded has a vision for something new from paths well-loved in the listening community. The Rodeö, however, is unforgiving. But every now and then, something comes out of left field to spark our spurs with fascination. – Dolphin Whisperer Blindfolded // What Seeps through Threads [July 1st, 2025] --- Gardenstale: This year’s Dormant Ordeal is an easy lister in my books, so it should come as no surprise that a Rodeö candidate using a pretty similar sound with a proggy twist elicits a big FUCK YEAH from me. Blindfolded brings an ingenious, potent mixture of Polish death metal with winding, labyrinthine structures, plenty of melodic licks, and burly, Vader-esque vocals. No fear of getting lost in wank, these guys hijack the hippocampus and the frontal cortex alike. “Frenzy of Exultations” alone should provide you with enough neck-snappery to use your vertebrae for confetti. It’s one of those rare albums that manage to unite groove, melody, technical chops (including an excellent drummer!), and sheer blunt brutality. And though it starts strong, it only gets better as it rolls on, with “Gates of Janus” building to an unforgiving steamroller with a hypnotic Gojira-esque riff and what might be the solo of the year. Death metal shouldn’t be too polished, but apparently, it can never be too Polish.1 4.0/5.0 What Seeps Through Threads by Blindfolded Dolphin Whisperer: One part ambitious song structure and one part ferocious death metal groove, the young Polish Blindfolded strikes a hook-loaded balance of Oldpethian grandeur and riff-aggressive PolDeath whiplash. And, as a culmination of this fusion, a churning atmosphere embodies the acoustic intros and amplified tear-aways that propel What Seeps through Threads across a generous and genre-honing fifty-some-odd minutes. While retaining a modern compression in guitar attack and drum composition that helps throttle knotty fretwork into headbanging ears (“Great Day of His Wrath,” “Uneasy Absence of Fair Judgement”), the nimble troupe finds expressive string jangle in the longform lurches, like expositional title track or closing hop of “Gates of Janus.” No matter how long any track extends here, with the stankface-loaded “Frenzy of Exultations” even pushing the ten-plus minute mark, Blindfolded retains a sense of smart riff development, coordinated phlegmy mic assault, and punchy rhythmic adornments that keeps What Seeps stepping ever closer to greatness. Blindfolded hardly sounds like an act whose deathscapades totaled a mere ten minutes before this full-length sweep. And with as weighty a sound as they’ve assembled, it’s only a matter of a little refinement in transition and spaciousness in sound capture that sees the young Poles going toe-to-toe with their celebrated countrymen and hyped deathmongers alike. 3.5/5.0 Alekhines Gun – What a debut! Forming in 2019, Blindfolded seek to make a serious impression in their first outing. What Seeps through Threads is a well-crafted release which manages to meld theatrical songwriting with a Blood Mantra-era Decapitated sense of frantic assault. Weaving Opeth song structures throughout, Blindfolded manage to shift from chug-riddled pain-bringing (“Aeonian Lie”) to the moody solos which lend pathos and dynamics in song structure. A spacious mix lets everything ring out, from bass warbles to Bartłomiej Fucia’s gruff vocals, which maintain an understandable intonation instead of leaning in on sheer brutality. Despite all of the songs being rather lengthy, (the shortest coming in at just shy of six minutes), a healthy ebb-and-flow throughout keeps riffs from repeating often or devolving into monotony. What Seeps through Threads nails the “album as a journey” aesthetic, rendering its near-hour-long runtime far shorter than it sounds. A keen sense of drama in the composition imbues each song with its own identity, while still serving the greater album narrative. I don’t know if this was a concept album or not, but if it isn’t, Blindfolded should certainly pursue such ideas as they have the talent and skill for a high-class of aural storytelling. In the meantime, come and enjoy a remarkably mature release from Poland’s newest offspring. 3.5/5.0 Thyme: When it comes to death metal, I’m like Lynyrd Skynryd, which is to say a “Simple Man.” Give me a heaping plate of meat ‘n’ taters death and I’m good to go, but that’s not to say I can’t enjoy a platter requiring a more refined palate. With debut album What Seeps through Threads, Blindfolded, and not that bunch guided sightlessly into the forest, offer a plate full of progressive death metal requiring me to dress nice, sit up straight, and know which is the fucking salad fork. Hailing from Poland, these five relative unknowns are poised to crash my impending end-of-year party with their Opeth-meets-Archspire brand of techened death. Kacper Wąsik and Marcel Kucharski present a shredding tour de force, showcasing myriad guitar skills comprised of massive, vicious riffs and a maelstrom of solo work that flows from the technically precise to the emotionally melancholy (“The Great Day of His Wrath,” “In The Eye of Maelstrom”) and, for some added spice, silky smooth jazz-guitar interludes (“Uneasy Absence of Fair Judgment”) that you won’t see coming but won’t kick out of bed. Bartloniej Fucia’s voice—a perfect blend of Mikael Åkerfeldt and Oliver Rae Aleron—complements the instrumentation, rounded out by Zygmunt Haliniarz’s bass and Kacper Rajfur’s stellar drumming. From the opening piano strains of “What Seeps through Threads” to the impeccable closer “Gates of Janus,” Blindfolded presents an album full of dramatic tension and incredible performances. Beautifully brutal, What Seeps through Threads was not on my 2025 bingo card, but it’s likely you’ll see Blindfolded’s name pop up again, at least for me, come list season. 4.0/5.0 The post AMG’s Unsigned Band Rodeö: Blindfolded – What Seeps through Threads appeared first on Angry Metal Guy.

You’ve heard me rant about the horrors that lurk in the promo sump come December, and how it’s mostly sub-basement black metal made by those who live on gas station pizza rolls. That kind of low-target high-risk environment is why I noticed the offering from German trve metal act Olymp and took action upon it rashly. Before we go any further, I need to point out that Olymp (I assume short of Olympus) is a truly godawful name. It also sounds like an erectile dysfunction medication. The fact that their sophomore album is titled Rising makes the comparison all the more… turgid, while also suggesting an entire marketing campaign for gas station dick pills. Also, that album art is next-level BAD. On the plus side, it’s probably not AI-generated. Poor moniker and dubious art choices aside, Olymp play a burly, beefy, 80s-centric variant of trve heavy metal with elements of Cirith Ungol and Manilla Road in the DNA. They also hit the same ground as their fellow countrymen, the long-running cheeseball power warriors, Wizard. That means Olymp teeter on that razor edge between serious and trve and over-the-top, cheddar-infected cornballery, which is a tough place to make a glorious last stand. But all hope is not lost, Olympi-Won! After a table-setting instrumental, the Olymp ethos is unveiled on “Olive Wreath.” It involves hammering you relentlessly with beefy riffage as Sebastian Tölle delivers a rough, raw bellow that’s more shout than sing. He sits somewhere between the legendary Tim Baker of Cirith Ungol and Matias Nastolin of Desolate Realm, and his gruff style generally fits the sound and adds an extra layer of toughness. At times, “Olive Wreath” reminds me of long-forgotten German speed metal fiends Iron Angel and Deathrow, and the guitar phrasing often veers heavily into Cirith Ungol territory. These are all big pluses in my book, and if they gave me a whole album of this meaty broth, I’d happily overlook the issues discussed in the intro. “Thread of Life” is another iron fist to the cranium with burly, simplistic riffs pounding your brain nonstop, and it’s not far removed from what classic Gravedigger did/still do. Olymp’s style is exceptionally simple, direct, and old school, and when it works, you get cuts like the slam-banging “Orpheus,” which riffs hard enough to shake teeth loose and addle your brain gelatin. The same goes for album closer “White Rose” which is laden with harmonies and flourishes that strongly recall Cirith Ungol. It’s an effective metal chestnut with a nice touch of melancholy. Not every cut pulls off the ancient alchemy, though. “Fire and Brimstone” comes off as really old Saxon and off-brand Manowar sutured together badly, and it’s dumb as hell. “Titan War” is aggressive and punchy, with Tölle sounding more like Tim Baker than usual, but things run too long, and the last few minutes feel tedious. “Olymp” also suffers from a late-song lag. While several songs extend too far considering the number of ideas presented, most tracks manage to avoid the bloat contagion. At 40 minutes, Rising feels like a quick enough spin, and the aggression levels keep it humming. The biggest snag for Olymp is Sebastian Tölle’s vocals, which are too limited and one-note. As a poor man’s Tim Baker, his raw, ragged shouting works best on the most aggressive numbers, but as the album drags on, his delivery becomes more and more irritating. He isn’t able to elevate the material consistently, and you find yourself wishing he had another gear. The guitar work by Tölle and Armin Amboss reeks of the 80s trve metal era, and they do borrow a lot from Cirith Ungol and Manilla Road while beefing up the tones for maximum impact. Their playing is a highlight and routinely drops nostalgia glitter on those who grew up in the 80s. Olymp play a style I’m predisposed to enjoy, and I do appreciate most of what they offer on Rising. If they could smooth out some of the rough spots in their songsmithing and improve the vocals, Olymp could become a worthy opponent for the likes of Eternal Champion and Dragon Skull. As things stand, they’re more a rowdy street thug than a noble barbarian. Here’s to rising on command!  --- Rating: 2.5/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Metalizer Websites: olymp-band.com | olympmetal.bandcamp.com | facebook.com/olympmetal Releases Worldwide: December 19th, 2025 The post Olymp – Rising Review appeared first on Angry Metal Guy.

BREAKING: The new Rotten Sound EP Mass Extinction sounds like Rotten Sound. The post Blast Worship: Rotten Sound appeared first on Decibel Magazine.

Metal is in a healthy place as we enter the back half of the 2020s. Continue reading…

Me, falling in love with a jazzgrind record? Of all the things that surprised me this year, that takes the cake by a wide margin. Of course, it follows that the band responsible for this change of heart is no less than my (formerly) least favorite act in the turboniche subgenre, Russia’s ByoNoiseGenerator. With their third LP, Subnormal Dives, the wild and wonky quintet forge a triumph of weirdness, of brutality, and of bizarre stickiness the likes of which I could never have anticipated. Sporting a new bassist, saxophonist, and guitarist after 2018’s Neuromechanica, ByoNoiseGenerator (affectionately nicknamed BYONG by our goofy little community of metal nerds) cherrypick only the ripest fruits of the tech, brutal death, grind, mathcore, and jazz trees. Once these are harvested and reduced together, a strange alchemy occurs. Every element bursts with vibrancy, coalesces in defiance of expectation or reason, and scintillates the senses with deceiving depth. Subnormal Dives, in particular, might be the smartest record in BYONG’s discography so far (and possibly of the year overall). It’s bizarre riffs elicit comparisons to everything ranging from Wormed to Wormhole,1 but its writing illustrates surreal worlds twisted up by the madness of Unfathomable Ruination, 7 H. Target, Cyborg Octopus, or Imperial Triumphant. But despite being built of seemingly incompatible building blocks, Subnormal Dives as a whole is far beyond the sum of its parts. Subnormal Dives by BYONOISEGENERATOR BYONG use every tool at their disposal with an unusual mastery, but it’s the way they break “the rules” entirely in their application that sets them apart. The moment opener “Eb (D#)” stops throwing a violent tantrum to enter a beautiful bass/saxophone-driven, atmospheric send-off, it’s clear as day that BYONG don’t give a hoot about convention. Bonkers tracks “IQ69Exaltations,” “NoSuccessToday!,” and “I’mNot20Anymore (21Ne)” combines the strange allure of instrumental and vocal acrobatics with no shortage of grinding guitar squeals, unhinged saxophone abuse, and reckless percussive explosions. Role reversal in tracks like “UBV-76,” “NULL.state = PERMANENT; return VOID;,” and “deBroglieNeverExisted,” sees the saxophone standing in for a part I’d normally expect from a lead guitar, barely kept in line by scalpel-precise bass plucks, subterranean guttural burps, and fanciful cymbal clinks. BYONG’s senile songwriting would be tricky to appreciate were it not so unashamedly fun and brimming with colorful personality. Even on a cursory listen to tracks like “LoveChargedDiveBombs” or bonus track “5mgInspiredVibes,” I fall head over heels for BYONG’s exuberance and zest. These characteristics define every moment of Subnormal Dives, which not only helps make memories in each and every one of its ten tracks, but also creates a laminar sense of flow to the whole affair despite its twitchy movements. There was a time where I hated ByoNoiseGenerator’s music. It was more than a simple lack of understanding as it pertained to its construction or method. It was a visceral, primal repulsion to everything they were doing, sound and style. And yet I sit, happily spinning Subnormal Dives ad infinitum without a trace of fatigue. Its winning personality and unimpeachable songwriting not only won me over on its own merits, but also permanently reversed the polarity on my experience with BYONG’s past work. If that’s not a minor miracle in this fucked up world, then what else is? Tracks to Check Out: “Eb (D#),” “NULL.state = PERMANENT; return VOID;,”” “LoveChargedDiveBombs,” “I’mNot20Anymore (21Ne)” ---  The post ByoNoiseGenerator – Subnormal Dives [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

Greece's very own W.E.B. to release their first-ever live album, 'Darkness Alive'; recorded in the quartet’s hometown of Athens on September 22nd, 2024! Check out the first video for "Dark Web" and pre-save digitally HERE: https://www.metalblade.com/web/ Out February 20th

Buy here: http://www.metalblade.com/web W.E.B.’s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The formidable symphonic extreme metal lineup is best experienced at one of their many crushing live gigs. Enter Darkness Alive, their first-ever live album, recorded in the quartet’s hometown of Athens on September 22nd, 2024. “We shared the stage that night with Dark Funeral, and since we were making changes within the band, that had us excited. We made the decision to mark this day with a special release, hence our first official live album,"says vocalist/guitarist Sakis Prekas. Choosing the nine songs for Darkness Alive was simple. “We can tell almost immediately which songs work for a concert and we always keep the audience in mind,” Prekas explains. “We want the people who come to see W.E.B. perform to have a good time, to get our message, to grasp them and make a damn memorable metal show, as it should be.” Darkness Alive truly captures the band at the top of their game. Standout tracks include “Dragona,” blasting black metal with an epic finale that forever will be a staple in W.E.B.’s live setlist, “Into Hell Fire We Burn,” which Prekas describes as a, “thunderous marriage of black and heavy metal with a chorus that literally orders you to sing along,” and today’s single, “Dark Web,” an intense melodic death and modern metal onslaught off their 2021 Colosseum LP. “Dark Web” spits out the way people with power and money treat others: in the most brutal manner. Darkness Alive Track Listing: 1. Crimson Dawn (Live) 2. Pentalpha (Live) 3. Dark Web (Live) 4. Into Hell Fire We Burn (Live) 5. Murder Of Crows (Live) 6. Necrology (Live) 7. Morphine for Saints (Live) 8. Dragona (Live) 9. Eligos (Live) W.E.B. is currently composing material for their next full-length album that will see them hitting the road once again. “It is by far the best material we;ve ever had on a record. I intend to keep the promise to myself regarding W.E.B. that all new material must be better material, otherwise there is no reason to release it,” Prekas concludes. “Stay Dark.” W.E.B.: Sakis Prekas – vocals, guitar Hel Pyre – vocals, bass, keys Alex Despotidis – guitar Babis Kapageridis – bass Vasilis Nanos – drums https://webmetalband.com https://www.facebook.com/webdarkness https://www.instagram.com/webdarkmetal https://www.youtube.com/@WEBbandOfficial https://x.com/webdarkmetal https://www.metalblade.com https://www.facebook.com/metalbladerecords https://www.instagram.com/metalbladerecords https://x.com/MetalBlade https://www.metalblade.com/museum

Denver, CO’s NightWraith are back with a new single, “The Candlelight,” a slice of black ‘n’ roll goodness just in time for the holidays. The band also just welcomed a new member, Lauren Vieira of local band Dreadnought, as their full-time keyboard and synth player. Originally written during sessions for their previous album Divergence, “The... The post Track Premiere: NightWraith – “The Candlelight” appeared first on Decibel Magazine.

Say one thing about the AMG readerbase, say that they harbor absolutely zero ambiguity within themselves as to what kind of music they’re not interested in. I anticipate that some who wander these halls will gawk at Thumos’ The Trial of Socrates: a colossal two-hour, fully instrumental collection of doomy post-prog metal. Indeed, it’s not what I’d call the most accessible album I’ve written about, so who am I to judge? However, if I were to say another thing about the AMG reader base, I’d say that they can appreciate artistry more than the average listener. To that effect, I believe that those who attend The Trial of Socrates will discover an album that is intelligent, creative, and captivating. Sixteen songs, sixteen different Socratic dialogues transposed into music. The Trial of Socrates is undeniably high-concept, but Thumos expertly keeps the listener engaged with immediate, yet endlessly thoughtful songcraft. The Trial is full of massive, memorable riffs that hide tons of depth in their execution. “The Parmenides” is a damn strong opener that sets a pensive tone with wistful guitar notes, before leading into a heavy riff that’s carried by a crystalline, piercing guitar melody. The Trial doesn’t typically adhere to traditional song structure, but songs are far from aimless. Oftentimes a single theme will be explored with chorus-adjacent repetition even as various ideas or riffs are added and iterated upon, like in the excellent “The Gorgias,” while other songs take a more progressive approach like the epic “The Apology.” These structures give the songs a conversational cadence, as themes are explored and interrogated with a Socratic thoroughness. The Trial of Socrates by Thumos Perhaps Thumos’ greatest achievement here is how they maintain a vital pace across The Trial’s long runtime. Someone more versed than I in Socratic philosophy might be able to recognize something approaching a narrative or chronology across The Trial, but even lacking context, the music alone compensates with excellent pacing and variety. The songs across The Trial shift across a healthy spectrum of fast and heavy (“The Thaeatetus,” “The Philebus”), pointed melody-driven drama (“The Parmenides,” The Apology”) or grand pathos (“The Sophist,” “The Phædo”). Even as individual songs can be lengthy, they’re always followed by something new, up until you reach the sublime end. The climax of “The Phædo” is a resplendent, tragic outpour of emotion that strips away any need for context with sheer force, ushering the end of The Trial in “The Menexenus,” a nigh funeral dirge. The Trial of Socrates is exactly the kind of metal I love: something that excels in both passive and active listening. The adherence to its source material and striking imagery pokes and prods at your curiosity, encouraging you to wander the labyrinth with the deepest focus, even as the post-doom riff work provides a comfortable space to rest in and bask in the diverse, stellar musicianship. Yeah, it’s long as hell, but to be frank, I grow tired of feeling like I must apologize for The Trial’s runtime, sheepishly imploring you to listen despite it. Thumos has a lot to express about their choice of inspiration, and there is little, if anything, I might suggest be removed. The Trial of Socrates is an intelligent and captivating piece, one that is worth your time. Tracks to Check Out: ”The Parmenides,” “The Protagoras,” “The Gorgias,” “The Sophist,” “The Phædo” The post Thumos – The Trial of Socrates [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

The masked nu-metallers have had a tumultuous lineup history. Continue reading…

From friendly grand farewell tours to arguments among members who couldn't go on any longer, here is a look at the rock and metal bands that broke up or decided to retire from the road in 2025. Continue reading…

No Kenny G for extreme metal weirdos Nuclear Dudes, as they are strictly "Antisax" in their latest video. The post Video Premiere: Nuclear Dudes – “Antisax” appeared first on Decibel Magazine.

Dense, dark, and demented, Lychgate’s Precipice breaks nearly six years of silence with music as unsettling as the concept it’s built upon. The album’s primary inspiration draws from E. M. Forster’s short story “The Machine Stops,” a dystopian tale first published in 1909 that cautions against over-reliance on technology.1 In it, The Machine enables people to govern their lives from isolated chambers, interacting virtually rather than in person after the Earth’s surface becomes uninhabitable. Integrating notions such as blind obedience to technology, instantaneous communication, and climate change furnishes a lavish backdrop for London’s Lychgate and their fourth LP.2 Given the promise of its premise, does Precipice step off the ledge and soar, or plummet to the depths of obscurity? Brandishing a broad array of atmospheres and a flair for generating tension, Lychgate conjures oppressive auras that equally frighten and excite. To that end, Precipice’s aural footprint lands somewhere between Blut aus Nord’s dissonant grooves and a decelerated Imperial Triumphant at their most cinematic (think “Transmission to Mercury”), taking the avant-garde trappings of each and devising a mood and character all Lychgate’s own. Emboldened by jazzy flourishes à la Dødheimsgard, Scarcity’s cacophonous, freeform nonconformity, and Morast’s caustic claustrophobia, Lychgate forges an unforgiving yet layered experience that outstrips single reference points. Tensions runs roughshod throughout Precipice, knotting its nine tracks into gnarled enigmas that demand to be sussed out with care. Gone are the clean vocals from The Contagion in Nine Steps and An Antidote for the Glass Pill, and instead vocalist Greg Chandler focuses solely on barks and snarls that remind of Doug Moore’s urgent rasps. Atop it all, Lychgate further embeds the organ into the band’s core sound and discharges potent riffs at key climactic junctures, leaving Precipice crackling with vitality and unpredictability. Precipice by Lychgate Precipice’s varied compositions and instrumentations coalesce to propel Lychgate to new heights. It’s a mature release that exemplifies the prevailing virtues of prior albums, unifying them into an impressively intricate forty-eight minutes. The organ, credited to permanent member J. C. Young and session musician F. A. Young, plays a central role, spanning the gamut from lunatic funhouse (“Anagnorisis”) to Phantom of the Opera gothic drama (“Mausoleum of Steel”). It keenly weaves a calculated stress, plying tension in ebbs and flows that cleverly and constantly push the album forward. Besides organ and piano, loose guitar structures regularly bleed into riffs plucked out of an eldritch ether, oscillating between Zappa’s Jazz from Hell and unearthly, pit-scorching acrobatics (“Renunciation”). A doleful, introspective melody in “The Meeting of Orion and Scorpio” diversifies the sound and pacing, followed by a hectic skittering in “Hive of Parasites” that gives way to a slow-burn passage heavily featuring jazz flute. Myriad components fuse into a whole that should not sound as cohesive as it does, but Lychgate takes their carnival of sounds and crafts a finely-honed album that deserves more attention than it will get with an end-of-year release. Lychgate employs a satisfying and well-considered array of ideas in service of Precipice, though a few hiccups are present. Besides the musical diversity, Lychgate flaunts remarkable instincts when it comes to pacing. Having the longest track as the midpoint of the album works well and helps establish a clear listening milestone; I only wish the back end of “Hive of Parasites” had been trimmed a touch, as the last three minutes blur together. The mix is another boon, providing ample space for S. D. Lindsley’s guitar, Tom MacLean’s bass, and T. J. F. Vallely’s drums. The only quibble is Precipice’s density, which could put off those lacking the time to absorb its demure gifts. All told, though, Lychgate earns every bit of praise by merging this many ideas so cohesively. Despite its late release and complex composition, Lychgate delivers a smash success that commands and indisputably warrants your attention. Precipice isn’t easy to understand, but it’s irresistibly easy to spin again and again. And you should, because it takes time to unravel.3 Precipice has been one of my most played albums of the year at a time when I’ve been busiest both personally and professionally, routinely ensnaring me with its enchanting hooks and wiles. For my money, Lychgate has released the best album of their career, and you owe it to yourself to step up to the Precipice and take a leap of faith. --- Rating: Great DR: 7 | Format Reviewed: 320 kbps mp3 Label: Debemur Morti Productions Websites: Bandcamp | Facebook Releases Worldwide: December 19th, 2025 The post Lychgate – Precipice Review appeared first on Angry Metal Guy.

The guitarist shares how gaming and music are deeply intertwined throughout his journey to the Cradle. The post KILL FEED 076: Donny Burbage from CRADLE OF FILTH Will Game to His Grave appeared first on Decibel Magazine.

ICYMI: Necrofier recently joined the MB family and unleashed their first glimpse into their upcoming record, 'Transcend Into Oblivion'. Take another dive into "Servants of Darkness, Guide My Way I" HERE: https://www.metalblade.com/necrofier/

Japan’s hardcore history has always travelled a stranger path to the West. Stories spread through xeroxed flyers, dubbed cassettes, untranslated anecdotes, bootleg LPs with dubious provenance, and memories passed from tour veterans to basement show kids. For many, the legacy of Lip Cream lived at the center of that fog — a band whose influence... The post Catalog Reissue Alert: Lip Cream appeared first on Decibel Magazine.

Greece is a surprising hotbed for power metal-adjacent sounds, providing recent gems such as Sunburst last year and Sacred Outcry’s 2023 masterpiece.1 Dragon Skull is a newcomer to these fields of glory, introducing their burly heavy/power style on their promising self-titled EP as recently as 2022. Now, three years later, they were finally ready to unleash their debut Chaos Fire Vengeance on the world. And oh my, what an entrance it is. Dragon Skull know how to riff like hell and craft anthemic, cataclysmically heavy tunes. In addition to the fist-pumping Manowar feel the band is going for (“Brethren,” “Skull Crusher”), the songwriting is further guided by the spirit of German power metal, something like Brainstorm further reinforced with later Blind Guardian bombast (“Nampat,” “Blood and Souls”). But what makes the instrumentation incendiary is how guitarists Panos Wallach and Chris Brintzikis take influence from several directions at once. This guarantees plenty of variety through the album’s eight tracks, ranging from the dual-harmonized NWoBHM of “Brethren” to the melodeath/meloblack-informed tremolos on “Shield Maiden.” To top it all off, the pummeling war drums of Teo Stamatiadis and gargantuan vocals of Aris Labos lend maximum grit to an already muscular record. Chaos Fire Vengeance by Dragon Skull Chaos Fire Vengeance offers a refreshing mixture of ’80s heavy metal and ’00s power metal. Slower, anthemic annihilation is counterpointed by thunderous fury, often during the same song (“Dragon Riders,” Shield Maiden”). The extra melodic death metal DNA brings with it a welcome burst of harsh vocals as well (“War Drums,” “Skeleton Hand”), and the way it all gels effortlessly is impressive. Despite the amount of various elements and influences in the album, the end result is deceivingly simple and effective. It makes Dragon Skull’s style stand out in a similar way Triumpher’s shtick does, but the increased mass and grit of Chaos Fire Vengeance improves the formula from good to face-melting. Though the first half of the album is already potent, the second half is where the band’s ambitions are fully realized. The hooks in “Nampat” and “Skeleton Hand” are immense, and the gargantuan epic “Blood and Souls” is a serious Song o’ the Year contender. I mean, how can you not love a song with Elric and Tanelorn-themed lyrical homages to Cirith Ungol and Blind Guardian?2 Dragon Skull is single-handedly carrying the power metal torch this year. Sure, it might be more heavy/power, but who’s counting? The songwriting is superbly anthemic, and the band knocked it out of the park on their first try in 42 brief minutes. I’ve had some trouble getting all my writing done late in the year for countless reasons, and this album in particular felt difficult to write deeper analysis for. But maybe it’s not necessary. After all, what is a TYMHM but a long-winded way to say “this album rocks, go check it out?” Sometimes it’s just better to keep things short and simple, and all Chaos Fire Vengeance needs is a damn strong barrage of eight massive tunes. Better yet, it’s a brilliant blueprint Dragon Skull can use to further refine their songcraft. Tracks to Check Out: “Nampat,” “Skeleton Hand,” and “Blood and Souls.” The post Dragon Skull – Chaos Fire Vengeance [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

Buy here: http://www.metalblade.com/iotunn Under the starry skies of Copenhell 2023, Danish/Faroese progressive metal outfit IOTUNN took the stage by storm with a performance already etched into the festival’s history. A sea of specially designed laser beams cut through the night, as the band delivered some of their most majestic and emotional compositions – a concert experience that elevated both the audience and the music to cosmic heights. Now, IOTUNN releases this unforgettable moment as a live album. The album captures the intensity, the magic, and the unique atmosphere that can only arise when music meets the night sky and thousands of devoted souls gather before the stage. With this release, IOTUNN invites fans and new listeners alike into the heart of a concert where time and space dissolved, and where the energy of metal was transformed into a radiant ritual under the open sky. This is more than a live album – it is a monument to a band in their true element: raw, majestic, and unforgettable. Jesper Ladekær Gräs: Guitar Jens Nicolai Ladekær Gräs: Guitar Jón Aldaré: Vocals Bjørn Wind Andersen: Drums Eskil Rask: Bass "Waves Below" recorded live at Copenhell, Denmark, June 14th 2023 Mixed and mastered by Bjørn Wind Andersen Engineered by Casper Hersø Jensen Film Recording by Symphor Film Video editing by Bjørn Wind Andersen Follow IOTUNN: https://www.facebook.com/iotunn https://www.instagram.com/iotunn x: iotunnband

Buy here: http://www.metalblade.com/iotunn Under the starry skies of Copenhell 2023, Danish/Faroese progressive metal outfit IOTUNN took the stage by storm with a performance already etched into the festival’s history. A sea of specially designed laser beams cut through the night, as the band delivered some of their most majestic and emotional compositions – a concert experience that elevated both the audience and the music to cosmic heights. Now, IOTUNN releases this unforgettable moment as a live album. The album captures the intensity, the magic, and the unique atmosphere that can only arise when music meets the night sky and thousands of devoted souls gather before the stage. With this release, IOTUNN invites fans and new listeners alike into the heart of a concert where time and space dissolved, and where the energy of metal was transformed into a radiant ritual under the open sky. This is more than a live album – it is a monument to a band in their true element: raw, majestic, and unforgettable. Jesper Ladekær Gräs: Guitar Jens Nicolai Ladekær Gräs: Guitar Jón Aldaré: Vocals Bjørn Wind Andersen: Drums Eskil Rask: Bass "Waves Below" recorded live at Copenhell, Denmark, June 14th 2023 Mixed and mastered by Bjørn Wind Andersen Engineered by Casper Hersø Jensen Film Recording by Symphor Film Video editing by Bjørn Wind Andersen Follow IOTUNN: https://www.facebook.com/iotunn https://www.instagram.com/iotunn x: iotunnband

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Here we go again, another day, another genre that generally gets written off by the metal faithful. Metalcore is a gateway for many metalheads, but it rarely has staying power past those formative years. I had the opposite experience, and only really found metalcore that I enjoyed well into my heavy music tenure. Dying Wish is one of those bands that dug its way out of the pit and drilled its way into my brain. The band’s latest album, Flesh Stays Together, is an emotionally charged ripper filled with catchy hooks, vicious breakdowns, and a manic energy more akin to acts like Venom Prison than its contemporaries. Dying Wish vocalist Emma Boster is the immediate standout, and their vitriolic, raspy screams combine with rich, deep cleans to make for hooks that last. Metalcore is full of mediocre vocalists who are decent screamers with terrible clean singing, making many bands’ music feel perfunctory rather than genuine. Not here, Boster is a top-tier mic-barker, and Flesh Stays Together is stuffed with memorable moments. “Revenge In Carnage,” “Nothing Like You,” and the title track are just a few examples where they shine. Dying Wish doesn’t let the ball drop elsewhere, and the rest of the band keeps pace. Guitarists Pedro Carillo and Sam Reynolds bring the hammer with impactful breakdowns bolstered by production that can stand the weight. While Flesh Stays Together leans more on the hardcore side with its guitarwork, the abrasive pick-scraping, thoughtful leads, and quality mixing raise it above the heap. Jon Mackey’s bass is the thrumming soul of the album, audibly chugging in the background and adding impact to every note. Lastly, a clean and natural snare with a solid punch from drummer Jeff Yambra rounds out a band that knows how to bring the core to metalcore without carrying all the lame baggage that usually comes with it. Flesh Stays Together hits hard and is impeccably played, as all good metal should be, but the powerful emotional core is even more potent, permeating the entire album. “Nothing Like You” calls out toxic family behavior and alcoholism, and Boster swears to be better than those who came before them. Even well-worn tropes have a hard edge, with the title track becoming both a call to arms and an ode to the power of becoming infatuated. When Boster sings, “I’d massacre all of heaven for you”, I can’t help but feel similarly about protecting the ones I care most about. Flesh Stays Together is a dark look at the worst in us, putting a mirror up to how family shapes our flaws, and Boster tackles these demons head-on. It may be metalcore, but Dying Wish brings the filth, and Flesh Stays Together showcases that the genre can still transcend its tired trappings. There isn’t a throwaway track on the album, and it comes in at a tight thirty-five minutes, making for a listen that beat me down and left me asking for more. Dying Wish may be lumped in with the rest of the core bands at a glance, but Flesh Stays Together is a nasty piece of work that wouldn’t be out of place amongst much grimier acts. If you enjoy bands like Venom Prison, Pupil Slicer, and Cloud Rat, this album deserves to be in your rotation. Tracks to Check Out: “I Don’t Belong Anywhere,” “Nothing Like You,” “Moments I Regret” --- The post Dying Wish – Flesh Stays Together [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.