A stunning wall of memories has sprung up in Birmingham, honoring the legendary Ozzy Osbourne on what would’ve been his 77th birthday. Continue reading…

Sharon Osbourne also posted a tearjerking tribute to her late husband. Continue reading…

The post FINALLY! Decibel Magazine Metal & Beer Fest: Denver 2025 Starts Today appeared first on Decibel Magazine.

UK's proggy death thrashers Unburier dig up some serious foulness on new single "Survive the Vermin." The post Video Premiere: Unburier – “Survive the Vermin” appeared first on Decibel Magazine.

More than almost any other metal niche, folk metal has to walk a treacherously thin line between “actually good music” and “full-body cringe.” For every band that can fuse arena-sized melodies with genuine folk charm, there are three more tumbling headfirst into the Neckbeard Abyss™, condemned to soundtrack the Nordic-themed house parties of Reddit mods everywhere. Equilibrium has stood proudly on both sides of that divide. Their early triumphs of Turis Frayter and Sagas were mead-soaked romps packed with syrupy pagan hooks and enough triumphant Bjoriffs to level a longhouse, but ever since, the spark has dimmed, and each new release has brought diminishing returns. Armageddon (2016) was passable, and Renegades (2019) marked a true low point, trading their Viking swagger for a baffling electro-trance-metal makeover that landed with all the grace of a drunken troll. Now, six years later, Equilibrium returns with Equinox, a tightened lineup and a new vocalist in tow, promising a glorious reclamation of their folk-metal throne. Have they forged another worthy slab of epic, mead-raising metal? Or are they destined to spend eternity staring wistfully at the echoes of their own past conquests? Equinox marks a clear return to form for Equilibrium after the detour of Renegades. The electronic and metalcore elements from their last record still linger, occasionally poking their neon-tinted heads out, but the heart of the band’s sound is back in full force: that boisterous blend of Finntroll and Ensiferum filtered through the Europower cheese of Rhapsody of Fire, now with a touch of Avatar added. The songs are built on a familiar mix of traditional woodwinds, thick distorted guitars, and gaudy synth lines, with newcomer Fabi’s fearsome growl leading the charge through straightforward verses and repeated choruses. When these ingredients click, and the newer sonic flourishes collide with the band’s classic, folk-driven sense of epic grandeur, the result can be exhilarating. Tracks like “Gnosis,” “Awakening” and “Bloodwood” move easily between core-tinged riffs and massive, sing-along Viking choruses, delivered with the bombast Equilibrium is known for. Unfortunately, the rest of the album doesn’t reach the same heights. According to the band, Equinox was originally intended as an EP rather than a full-length release, and the pacing issues and filler make that easy to believe. Large sections of several songs feel like padding before the actual track begins. Both “Borrowed Waters” and “Legends” open with long, drawn-out “atmospheric” intros that sap the impact of what follows, and the album includes no fewer than three interludes (“Archivist,” “Rituals of Sun and Moon” and “Tides of Time”). These moments don’t do the record any favors. They’re often delivered through a jarring mix of electronic trap drums, over-the-top synth lines and the band’s more traditional woodwind flourishes, creating a stylistic mishmash that feels pulled straight from a fantasy-themed Fortnite event. At times, these elements collide with simplistic, “tribal,” repetition-heavy vocals (“Earth Tongue”), resulting in something that sounds closer to a hyper-dramatic Nordaboo YouTube montage than classic Equilibrium. Even though the album does contain plenty of fully formed songs, these detours make the overall experience feel uneven and lopsided. There are moments on Equinox where Equilibrium’s updated approach works despite its flaws. “I’ll Be Thunder” is a concise, effective track that blends electronic and orchestral elements into a tightly written folk-metal package. Even the seemingly toxic trance-metal/rap/metalcore hybrid verse in “One Hundred Hands” is intriguing, though the autotuned chorus and generic breakdown drag the song down. To the band’s credit, the mixing is solid across the album. It’s polished without being crushed by excessive loudness for a Nuclear Blast release, and producer Daniel McCook does an admirable job balancing the electronic, orchestral, and metal components. The result is a surprisingly even production that rewards multiple listens. I just wish there were more aspects of Equinox I could praise without reservations. Equinox is a difficult album to recommend despite its strengths. Equilibrium have mostly abandoned the divisive sound of their previous record, while adapting its electronic elements in a return to form. The singles here do capture the bombast of their earlier work and are fun enough on their own, but the record around them is inconsistent and, at time,s baffling in its execution. Equilibrium could certainly do a lot worse, but this is far from the re-conquest of the folk metal throne it could’ve been.  --- Rating: 2.0/5.0 DR: 8 | Format Reviewed: 256 kb/s mp3 Label: Nuclear Blast Records Websites: equilibrium-metal.net | facebook.com/equilibrium Releases Worldwide: November 28th, 2025 The post Equilibrium – Equinox Review appeared first on Angry Metal Guy.

Seattle’s It Haunts arrive with the kind of debut EP that doesn’t feel like a beginning so much as an overdue emergence. Rooted in melodic metal, atmospheric shoegaze, and the emotional volatility of post-hardcore, the band threads heaviness and vulnerability with a clarity that’s rare for any project — let alone one that traces its... The post Full Stream: It Haunts – No Light to Save Me appeared first on Decibel Magazine.

I’m not at all well-versed on the Spanish death metal scene, but the descriptions for Sepulchral’s sophomore opus Beneath the Shroud intrigued me sufficiently to take a cautious flyer on them for a December review. End-of-year promo offerings are always a mötley stew of rejects, wannabes, never-weres, tricksy re-releases, and lo-fi basement black metal albums set to release on Christmas day, so I didn’t expect much. What I got was something interesting indeed. Sepulchral rock a very old school death metal approach with a prominent blackened streak that sometimes takes center stage. There are nods to early Entombed and the punkier Autopsy releases, and more than a little similarity to proto-black metal bands like Bathory and early Sodom. The resulting racket is brutish, slack-jawed, entertaining, and certainly nostalgia-inducing for olde heads like Yours Steely. This is pure throwback glory, and it isn’t going to move any needles forward, but it sure tries to bend them backward. After a refined and tasteful instrumental intro, Sepulchral come out with a greasy, filthy bang on the title track, which splits the baby between d-beat-heavy Swedeath and Bathory’s immortal second album, The Return. It’s retro-as-fook, but endearing as all get out. Vocals are like early days Quothorn mixed with Autopsy’s Chris Reifert, and the frantic, bouncy riffs will remind the aged metalhead of any number of 80s proto-death and proto-metal acts. At its core, it’s just a fun, over-the-top dose of thrashy, punky death with swagger and charm. “Abandoned Feretrum” is a macap, thrashing, tantrum of a tune with awkward, stuttering riffs that bulldoze everything and everyone into a muddy mass grave as crazed vocals babble, croak, and vomit forth nonsense. I loved this one immediately and I just keep playing it. Those simple caveman power chugs that pop up are pure gainz fuel for gym time. With the basic template thus set, Sepulchral proceed to blast, hammer, smoosh, and squish you with slight variations of it over the next 35 minutes. This very singular approach works great on “Conflagration of Sacred Bones” and the remorseless wargrinder that is “Cloaked Spectres,” which feels unstoppable due to its penchant for big, dumb, power chugs. Slower selections like “From the Crypt, the Putrid Mist” remind of long-buried 80s proto-black metallers N.M.E., due to that clonky bass sound.1 “Gravestone Covenant” is a rumbling, brain-crushing Panzer of a song that annihilates everything in its path, and “Poison Wind” is an unabated beat down, brainless and bloodthirsty. As fun as the core Sepulchral sound is, they can run into issues when they stretch songs out and try for different moods. “Torchless Crossroads” is good, but it attempts to mellow things out too much on the back-end, creating a dull, dead space that doesn’t add any real atmosphere. “Gravestone Covenant” opts for a doomy wind-out but pulls it off better, though it would be better if it were left off entirely. Another issue is the tendency for the songs to all bleed together into an agitated, writhing mush. It’s a fun one to be sure, but it does feel like a lot of the same hash and beans by the time the album wraps. Guitarist “Gorka” digs deep into the 80s for inspiration, offering a rabid, rotten collection of riffs that sound like they were culled from the first few Bathory albums and then dumped into an Entombed-ifier filter, only to be abandoned in a public toilet with Autopsy’s Shitfun. It’s moldy, and the stench is formidable, but 90% of the fun here is generated by the frantic, unceasing riffage and chuggery. And boy, those power chugs drain IQ points at a startling rate, but I can’t get enough of them. “Gaueko” provides gruesome vocals that sit exactly between death and black metal and are often no more than a raw bark or croak. His penchant for adding frequent vomit and spewing noises as accents is a plus, and he’s a reliable narrator for the horrors Sepulchral describe. His thumping, thudding bass-work is a boon as well, bubbling away in the background and foreground as needed. Venturing Beneath the Shroud reveals something nasty, profane, and grotesque that cannot be unheard. It’s more fun than expected, though there are noticeable warts, boils, and blemishes along the way. Sepulchral may never end up a household name outside of their area of influence, but they have something cool going on with this mega-retro sound. If you appreciate the early days of extreme metal, take a whiff of this piece of offal. --- Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Soulseller Records Websites: sepulchraldeathmetal.bandcamp.com | facebook.com/sepulchraldeathmetal | instagram.com/sepulchral.osdm Releases Worldwide: December 5th, 2025 The post Sepulchral – Beneath the Shroud Review appeared first on Angry Metal Guy.

Blessthefall have addressed complaints that a piece of their merch was utilizing Ai-generated imagery. Continue reading…

Parkway Drive have canceled their traveling Park Waves Festival and cited 'rising costs' across the entertainment industry as the reason in a statement. Continue reading…

Go on a retro stoner heavy metal trip with the new album from Indigosaur. The post Full Album Stream: Indigosaur – “Cosmic Censor” appeared first on Decibel Magazine.

We tried to warn you! The “Metal & Beer” ticket option for Decibel Magazine Metal & Beer Fest: Denver is officially SOLD OUT. There are still a limited amount of "Just Metal" tickets for both Dec 5 and Dec 6 at the Denver Fillmore. The post “Metal & Beer” Tickets for Decibel Metal & Beer Fest: Denver Are SOLD OUT! Limited “Just Metal” Tickets Availble appeared first on Decibel Magazine.

Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

When we last heard from New Jersey’s Lorna Shore, they followed up the wave of attention they received during the pandemic with their song “Into the Hellfire,” showcasing not only their musical chops, but also the golden throat (and bangs) of one Will Ramos, with Pain Remains in 2022. Not only did the album further capitalize on their songwriting abilities and Ramos’ insane vocal talents, but it opened up a slew of headlining tours, closing festival slots, and untold amounts of fans. It’s amazing what can happen when you nonchalantly pour yourself into your music? So I bet you’re wondering what the follow-up, the wordly I Feel the Everblack Festering Within Me, could bring to the proceedings? What would differ here from the passion, honesty, and heart that Lorna Shore would lay bare on Pain Remains? It turns out, just even more honesty and passion, but at least there are a few wrinkles thrown in for good measure. Sure, the songs are longer, and the orchestral openings to most of the songs on here take their sweet-ass time to set up, but once they do, the music once again blisters and burns with raging intensity. “Oblivion” and “Lionheart” will definitely be pit favorites, with Austin Archey proving, once again, to be an absolute beast behind the kit, blasting and grinding away while guitarists Andrew O’Connor and Adam DeMicco riff and shred (respectively) away. With DeMicco, his leads continue to improve on each release, and on here, he takes flight on numerous occasions. I Feel The Everblack Festering Within Me (24-bit HD audio) by Lorna Shore Once again, though, it’s Ramos who steals the spotlight. His passionate screams, not to mention the various times he switches them up at the drop of a hat, continue to impress and amaze. Whether it’s the wild guttural-scream-singing during the chorus of “Death Can Take Me,” or his heartfelt purging on both “Glenwood”1 and “Forevermore,”2 Ramos’ ability to veer between sounding maniacally animalistic, wailing in an all-too-human fashion, and everywhere within those parameters instantaneously floors me still. I’m sure several of you have backed out of reading once you saw the topic of today’s article, and that’s fine. There are several pages of reviews and whatnot to tickle your fancy, and I respect that. However, for those of you who continue to be impressed by one of modern deathcore’s shining bright lights, this is a welcome continuation of a band that’s still not hit their climax yet. Big things are still ahead for these guys, and I Feel the Everblack Festering Within Me is a great glimpse of what’s to come. Tracks to Check Out: “Oblivion,” “Lionheart,” “Unbreakable,” “Glenwood,” “Death Can Take Me,” “Forevermore” --- The post Lorna Shore – I Feel The Everblack Festering Within Me [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.

Score an exclusive flexi featuring Morbikon covering Aura Noir, while supplies last! The post MORBIKON Premiere New Song, “Gaping Grave Awaits,” via the Decibel Flexi Series! appeared first on Decibel Magazine.

New album coming 2026...

Buy here: http://www.metalblade.com/necrofier

In Seoul, they spell grindcore HWA. Hear the band's ripping Demo 2025 now. The post Blast Worship: HWA appeared first on Decibel Magazine.

Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either? With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen. Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either. Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything. Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.  --- Rating: Bad DR: 8 | Format Reviewed: 320 kbps MP3 Label: Transcending Obscurity Records Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious Releases Worldwide: December 5th, 2025 The post Death Obvious – Death Obvious Review appeared first on Angry Metal Guy.

The Ozzy Osbourne web store has launched a Roger Waters diss shirt in reference to the musician's remarks about Ozzy and Black Sabbath. Continue reading…

The new touring bassist for Limp Bizkit comes from their support band Ecca Vandal and he's expressed his love and admiration for the late Sam Rivers. Continue reading…

Hear Scottish metallic hardcore outfit Kakihara cudgel with impunity on vicious new EP Love Songs Part 2. The post Full EP Stream: Kakihara –Love Songs Part 2 appeared first on Decibel Magazine.

It's bigger than a chapel... enter the Realm of Ghouls now. The post Full Album Stream: Ghoulhouse – “Realm of Ghouls” appeared first on Decibel Magazine.

I have such a soft spot in my heart for Frozen Land. After writing my first-ever review for Angry Metal Guy, I remember feeling shaky. It went through quite a few revisions. My second, Frozen Land’s eponymous debut, was, comparatively, simple. Their 1999 Euro power metal meets 2001 Euro power metal vision made for a catchy, delightfully fun album, and my enjoyment for it showed in my writing—still my favorite intro to any review I’ve written. So it is to my great astonishment that these Finns are now on album number three with Icemelter. Time, it just keeps going, but has it changed anything for these vivacious Vikings? Of course not! Frozen Land is just as I remember them, or at least they are for the most part—Icemelter has a more aggressive edge to it, but is easily and recognizably the same Frozen Land I met in 2018. Opener “The Carrier,” for example, features a riff that could easily be found on a Tarot album, a notable sign of a heavier direction. But the rapid-fire vocals bridging their way to a bombastic, catchy chorus? That’s familiar Frozen Land, borrowing from the ancient playbook of Stratovarius and Sonata Arctica (who were themselves borrowing from the aforementioned playbook at the time). Their unique personality emerges in Thomas Hirvonen’s sardonic riffing in “Dream Away,” in Lauri Nylund’s subtle but effective keyboards in “Losing My Mind,” in the infectious energy of bassist Eero Pakkanen and drummer Matias Rokio throughout, but especially in “Chosen, Corrupt, and Cancerous,” and in Tony Meloni’s singing all the time. As is typical in power metal, it’s the vocalist who takes up most of the spotlight, and Meloni’s unique style is little exception. I could see his higher register feeling awkward or out of place with the wrong group, but Frozen Land’s songs are very much written for his voice. The bombastic choruses commonly pair him with Nylund’s keys—barely noticeable, but lending him that extra bit of presence to make them shine. He also adds an important element of dynamism to Icemelter, on songs like “Haunted,” which take him from aggressive cleans to a smoother, impassioned chorus that gets stuck in the head, and wouldn’t work nearly so well with a less invested delivery. The reason I highlight Meloni’s performance isn’t to take away from the rest of Frozen Land at all—as I’ve mentioned, the five work extremely well together to form their modern-yet-nostalgic sound. But if there’s one weakness to Icemelter, it’s that, musically at least, it’s a touch formulaic, due in part to the dated (seeming) inspiration for their material and the style with which they take to it. And, to be clear, none of their material is boring or even the slightest bit un-fun. Hirvonen’s and leads are electric, and “Black Domina” is a great example, but by the time we get there, it’s just starting to feel a bit tired. The good news is that Icemelter is only thirty-six minutes long and so never has a chance to overstay its welcome. On the other hand, when I do dislike a song, as is only the case for the title track (which comes across disjointed in its songwriting and doesn’t quite land for me), it feels like a disproportionately big deal. Icemelter is a very fun listen. If it’s only flaw is that all the energetic, fun power metal blurs together a bit, I can live with it. Frozen Land being a quintessentially Finnish touch to a classic style, modernizes both it and themselves enough to make a strong impression. As I look back on this review, it occurs to me that it’s a bit short compared to my usual writing here, but that’s kind of the point—Frozen Land’s straightforward, easy approach to a classic style is exactly what makes them so endearing to listen to. --- Rating: 3.5/5.0 DR: 6 | Format Reviewed: 320 kb/s mp3 Label: Massacre Records Websites: facebook.com/frozenlandband Releases Worldwide: November 21st, 2025 The post Frozen Land – Icemelter Review appeared first on Angry Metal Guy.

If you've until the end of the day (Dec 1) to secure a deluxe Decibel subscription to ensure ownership of the re-recording of the Cro-Mags classic "Hard Times" on limited edition flexi disc! The post CRO-MAGS to Release Exclusive New Recording of “Hard Times” via the Decibel Flexi Series! appeared first on Decibel Magazine.

My experience with Der Weg Einer Freiheit differs quite substantially from our resident Eldritch reviewer. Perhaps because my first taste was 2017’s Finisterre, I never saw it, nor later Noktvrn (2021) as disappointing steps down from previous Stellar heights. In my eyes, the path that Der Weg Einer Freiheit followed in the last decade is not only a natural extension of their introspective, emotionally-charged black metal, but it has also enabled them to expand and enhance this consistently potent core to new levels. Whilst sliding into post-metal, and opening themselves to the admittedly unrefined use of gaze, the group nonetheless fold them into the speed and fury of their heavier side, ramping up the climaxes, and making Noktvrn a staggeringly impactful work whose official score here I can only respectfully disagree with. It was largely due to my love for that record that I was so excited at the approach of Innern earlier this year.1 Little did I know that it would fall to me, come list season, to give Der Weg Einer Freiheit their due. Innern takes the fragments of Der Weg Einer Freiheit’s personality and combines them in a way that demonstrates their evolution across the board. Their flair for continual escalation, with a darkly humming atmosphere, urgent guitar lines, and a cascading torrent of percussion, has only improved. It gives first track, “Marter,” a strange yet inexorable ability to make me feel excited for an album I’m already listening to, and this tug deep in my core will resurface repeatedly as “Xilbaba,” “Eos,” and “Fragment” rush upwards toward, or collapse downwards into their own devastating climaxes. The group’s recent experimentation with softer textures is manifest in yet more layers that make the intense sound more intense (“Marter,” “Eos”) and the introspective more introspective (“Fragment,” “Forlorn”), pulling its listener in deep either way. Innern does mean ‘inside’, after all. Innern by Der Weg einer Freiheit The music has—somehow—more presence than ever. Guitars sound downright cinematic in their grandiose, sweeping paths or resonant chimes, but whether surging or sighing, you listen. It doesn’t hurt that they carry some of the most gorgeous melodies of Der Weg Einer Freiheit’s career (“Xilbaba,” “Eos”). The final act, signified by the return of piano in late instrumental “Finisterre III” and the closing, English-sung “Forlorn,” does not weaken Innern’s resolve nor its magnetism. With decisive chords and dreamily sad scales as carefully placed for reflection as those that began the album in “Marter” were for anticipation. And the shoegaze is no longer shoehorned and segregated; unlike Noktvrn’s maligned “Haven,” “Forlorn” has bite, and it rises as it should out of the conflicting emotions of apathy and longing that final track expresses. Once again, Tobias Schuler’s drumming propels violent, beautiful storms from calm to fury and back with a graceful savagery that could send death metal percussionists packing. Innern’s use of tempos to construct an ebb and flow that rushes and crashes around the listener, and allows space for a forlorn tremolo to ring in the air, and Nikita Kamprad’s scream to hold, is little short of magnificent. So monumental in aura is Innern, and yet, so easy to listen to. Not even 45 minutes long, and dripping with feeling, suffused with captivating melodies and compelling rhythms, the silence at its close comes with a jolt as the portal suddenly closes. Needless to say, I’ve been hitting it on repeat for a while now. The sterner side of me would acknowledge the album’s quiet(er) death—from “Finisterre III” onwards—may irk some, but as I indicated earlier, not only does the seamless and natural exhale of “Finisterre III”-“Forlorn” flow perfectly, there’s a decisiveness and a finality to this closing act that I’ve come to appreciate more and more. If somehow you’re reading this and either a) like Der Weg Einer Freiheit but haven’t got to Innern yet; or b) have never listened to them before, but like the sound of anything above. Stop what you’re doing immediately, please, and give Innern a spin. This might be the best Der Weg Einer Freiheit ever sounded. Tracks to Check Out: “Marter,” “Xilbaba,” “Eos,” “Forlorn” ---  The post Der Weg Einer Freiheit – Innern [Things You Might Have Missed 2025] appeared first on Angry Metal Guy.