This week’s Heavy Music HQ reviews include releases from Abbie Falls, Astral Spear, Bygone, Dead Sun, Der Rote Milan, Fleshvessel, Glasgow Kiss, The Harbinger, Lord Of The Lost, Martröð, Rotten Sound, Sacred Leather, Sun Of The Suns and Weft.
The ratings are on a 5-star scale.
These are our last weekly reviews of 2025. Look for our best of 2025 list on December 15th, and we’ll resume weekly reviews in mid-January, 2026.
Abbie Falls – Life Is Just A Temporary Plan (Out Of Line)
Abbie Falls emerged from Prague around 2015; five young musicians driven by a hunger for metalcore, blending deathcore and hardcore into a barrage of earth-shattering rage and thrash. Their latest album, Life Is Just A Temporary Plan, delivers another dose of chaotic intensity, packing everything you’d expect from modern deathcore into a tight 30-minute assault.
Featuring guest appearances from Breakdown of Sanity, Grapefruit Astronauts, and Alan Grnja of Distant, Life Is Just A Temporary Plan is pure bliss for fans of the genre. It has crushing riffs, even more crushing breakdowns, and the same raw, death-soaked chaos that defines their sound. While Abbie Falls doesn’t make any major leaps in songwriting here, tracks like “Anomaly in G minor” hint at their potential to evolve, impressively weaving in electronic and classical elements. For those who prefer their metalcore leaning into deathcore, Life Is Just A Temporary Plan stands as a fierce, epic release; one packed with moments capable of turning any mosh pit bloody and dangerous for fans of all ages!
Rating: 3.5
(Arash Khosronejad)
Astral Spear – Ancient Throne Of Sinister Rites (Signal Rex)
Ancient Throne Of Sinister Rites, the self-titled debut EP from the Polish band Astral Spear is a black metal album with an evil edge to it. There is a similar vibe to bands like Burzum. The music is cold and often bleak and this leads to a rather raw atmosphere. There is a need to be chaotic and stripped down and this leads to a recording that is rather bare bones in its nature. The music is very necro sounding, but not very complex.
In terms of musicianship, there is quite a bit of generic guitar playing and straightforward drumming along with normal vocals and this makes for an entertaining, but not spectacular experience. Ancient Throne Of Sinister Rites is rather narrow in its approach and has an evil nature to it. There is nothing particularly exciting here as it is a rather generic offering.
Rating: 3
(Adam McAuley)
Bygone – Bygone (Svart)
Bygone’s self-titled debut album is a place where guitars and keyboards live in harmony, neither stepping over the other. Two guitarists will lock in with passionate fervor, as the keyboards patiently wait for their chance to do the same without the guitars getting in the way. Then there are the parts when they all work together to bring proto-metal to the modern era.
With multiple songs going over seven minutes, there’s loads of opportunity for interplays like these. Closer “Fire In You Fire In Me” is an expressive ballad that could’ve fit during the Mark III period of Deep Purple; if a listener closed their eyes, they could see David Coverdale belting this out during the Stormbringer tour. Bygone look to belong in a different time, though not as relics but as a reminder of a rich past.
Rating: 3.5
(Dan Marsicano)
Dead Sun – This Life Is A Grave (Emanzipation)
There is no metal artist more prolific than Rogga Johansson. Every year he’s responsible for double-digit releases from his seemingly endless supply of projects. The melodic death duo Dead Sun is one of his longest-running bands, formed back in 1996. Johannson handles vocals, guitars and bass while Thomas Ohlsson (Apostasy) plays drums.
The song lengths on This Life Is A Grave are unusually consistent, with all 9 tracks clocking in between 3:20 and 3:41. Harsh vocals are contrasted by melodic guitars that deliver plenty of memorable riffs. Dead Sun change up tempos to avoid monotony, and there’s minimal filler. Johansson’s creative well is apparently bottomless, adding This Life Is A Grave is another solid entry in his extensive discography.
Rating: 3.5
(Chad Bowar)
Der Rote Milan – Verlust (Unholy Conspiracy Deathwork)
With Verlust, Der Rote Milan extends their string of consecutive EPs following 2019’s Moritat LP. This is the third EP in a row for the German black metal band, as they reinforce a growing atmospheric presence to their music. Each member hides their identities behind Roman numerals, but they can’t disguise their melodic impulses with the expansive guitar leads on “Où allez-vous?” and “Der letzte Rubin.”
Each of the five songs are in a range of four to five minutes, which works in the benefit of Der Rote Milan. They’ve done longer tunes before (like the 12-minute title track from Moritat) but the EP format lets them work on making the most out of the space given. Those who gave last year’s Schlund EP a shot should find Verlust to be a good companion piece.
Rating: 3.5
(Dan Marsicano)
Fleshvessel – Obstinacy: Sisyphean Dreams Unfolded (I, Voidhanger)
The stranger, the better for Fleshvessel and their avant-garde death metal on Obstinacy: Sisyphean Dreams Unfolded. For their sophomore album, the group have no reservations about turning the definition of music on its head. They will try almost anything to elicit a response, layering all kinds of instruments in rich excess. There’s an equal number of keyboard and guitar solos, not to discard something as surreal as a daf solo on “It Lurched From A Chasm In The Sky.”
The vocals have also morphed into a new form, as theatrical falsettos are now included alongside the maniacal growls. The falsettos take a little getting used to, but by the album’s halfway point, they are second nature to the open-ended songwriting Fleshvessel proudly show off. Obstinacy: Sisyphean Dreams Unfolded is both bizarre and wildly entertaining.
Rating: 4
(Dan Marsicano)
Glasgow Kiss – Down In Flames (Eclipse)
The Norwegian band Glasgow Kiss and their debut album Down In Flames come to the scene just three short years after their Fury EP. Though best labeled as alternative metal, it is a bit hard to describe them.
“Put The Blame on Me” dives a bit into symphonic, whereas “Forsaken” feels like it has a power metal feel at times. Though this may throw some people off with the lack of consistency, this little bit of everything style suits them. It’s obvious that most albums are made with care and attention, but it is clear that Glasgow Kiss’ debut album is one that feels like it was made with extra attention and care.
Rating: 3.5
(Dalton Husher)
The Harbinger – Gates Of Hell (Inverse)
The Harbinger’s melodic death/doom on Gates Of Hell is purposeful in its latter state, but messy in its former style. When this Finnish quintet is level-headed and in control with their downbeat doom metal, they reach into the depths of sorrow. The melancholy guitars and singing on “Sleepless” and “Glass Walls,” the opener and closer to the EP, are a step up from their 2023 EP, Dead Ends.
It’s when they go into death metal mode on “Bleak Salvation” where the cracks begin to form. The Harbinger just seem to be running from behind the faster the riffs get. Even a solid tune like “Glass Walls” can’t escape the disjointed barrage the band feels the need to add in. The Harbinger should’ve taken the slow and steady approach the whole way through Gates Of Hell.
Rating: 2.5
(Dan Marsicano)
Lord Of The Lost – Opvs Noir Vol. 2 (Napalm)
German dark rockers Lord Of The Lost waste no time in following up the initial installment in the Opvs Noir trilogy. Opvs Noir Vol. 2 arrives just four months after the first volume. It continues the band’s blend of gothic, industrial and traditional elements.
As with the first volume, there are also several guest artists. Infected Rain’s Lena Scissorhands appears on “Would You Walk With Me Through Hell,” adding both accessible melodies and harsh vocals. An unexpected collaboration is with Finnish rapper Käärijä on “Raveyard” that shifts from metal to dance. “What Will I Become” features experimental artist IAMX, a symphonic and dramatic number. Exit Eden/League Of Distortion’s Anna Brunner teams up with frontman Chris Harms on “Please Break The Silence,” one of the album’s catchiest compositions. Opvs Noir Vol. 2 continues the momentum of the first installment, whetting the appetite for the trilogy’s conclusion.
Rating: 3.5
(Chad Bowar)
Martröð – Draumsýnir Eldsins (Debemur Morti)
It’s been a while since we’ve heard from the Icelandic/American black metal band Martröð, whose members’ resumes include groups such as Krieg, Wormlust, Chaos Moon and Skaphe. They emerged with an EP in 2016, and nearly a decade later are releasing their full-length debut Draumsýnir Eldsins.
The four songs are in the 8 to 10-minute range, with plenty of time for shifts in tempo and intensity and forays in experimental directions. Dense black metal eases back into mellower parts before resuming the extremity. The Selfloss Symphonic Choir adds depth and atmosphere to the opening track “Skopunin.” The rest of the album has numerous ebbs and flows between chaos and groove, with the variety maintaining interest throughout the lengthy songs. Draumsýnir Eldsins is a welcome return, and hopefully Martröð won’t take as long for the follow-up.
Rating: 3.5
(Chad Bowar)
Rotten Sound – Mass Extinction (Season of Mist)
Swedish grindcore legends Rotten Sound‘s latest release is the EP Mass Extinction, following up on 2023’s full length Apocalypse. What you get here is 8 tracks in nearly 10 minutes and it is unadulterated chaos. Opener “Recycle” is a punch to the face with wonderfully buzzsaw driven guitars allowing the music to rattle you to your bones and transition you to the next tapas sized terror on the horizon.
Rotten Sound are as violent as they have ever been on this hit and run shortie meant to bring about real anger and violence and be over before you know it for maximum replay value. Mass Extinction is the latest example as to why Rotten Sound are modern day masters of their craft.
Rating: 4
(Tom Campagna)
Sacred Leather – Keep The Fire Burning (King Volume)
Indianapolis’ Sacred Leather return with their sophomore full-length album Keep The Fire Burning, chock full of their ‘80s themed metallic mayhem. Whether the band is playing at full speed on “Spitfire At Night” or slowing it down for “Wake Me Up” or “Tear Out My Heart,” Sacred Leather more than accomplish the job they set out for with this album.
Vocalist Dee Wrathchild soars above the band as they lay down an additional melodic layer allowing for the vocals to rise to new heights. Sacred Leather are a solid heavy metal outfit with a flair for the melodic metal of the ‘80s with some crossover appeal to those who don’t need their metal to be overtly heavy. Keep The Fire Burning is a love letter to denim and leather, one that feeds the pyre well as 2025 comes to a close.
Rating: 3.5
(Tom Campagna)
Sun Of The Suns – Entanglement (Scarlet)
Sun Of The Suns take another far-reaching trip out to the cosmos and beyond on their second album, Entanglement. Much like their 2021 debut, TIIT, Entanglement looks at distance not by feet or miles, but by galaxies. Their progressive death metal is fashioned with technical groove, being able to drop jaws with impressive guitar solos while crafting bountiful breakdowns.
Entanglement reaches its peak with the 10-minute closing title track, which has the band exploring fresh sonic perspectives (melodic vocals, acoustic guitars) in the midst of the fastest tempos on the album. There’s great care in making this a satisfying ending, one that a listener will remember long after the last note fades out.
Rating: 3.5
(Dan Marsicano)
Weft – The Splintered Oar (Bindrune)
Musician Charlie Anderson takes cues from Panopticon’s Austin Lunn with Weft’s The Splintered Oar. Anderson, who is a live member of Panopticon and guested on a few of their albums, performs a majority of the instruments on The Splintered Oar. A few other people are brought in to assist, including Lunn himself on the drums, to realize Anderson’s ideas of his own brand of atmospheric black metal.
Since Anderson is a violinist by trade, the instrument is used frequently. Whether it’s the folky wistfulness of instrumental “Leaves” or the brash noise over “False Kingdoms,” the violin is vital to Weft’s music. This is a wonderful record, never lagging even with a song like “Dream Of Oaks” going over 12 minutes. The Splintered Oar is an enlightening start for Weft that hopefully doesn’t get lost in the crowded shuffle of end-of-year releases.
Rating: 4.5
(Dan Marsicano)
