This week’s Heavy Music HQ reviews include releases from Agenbite Misery, Ashes Awaken, Big Big Train, Blossoms Fall, Cyclone, Epimetheus, Karnivool, Lomor, Phendrana, Puscifer, Stress Spells, Tailgunner and Visions Of Atlantis.
The ratings are on a 5-star scale.
Agenbite Misery – Remorse Of Conscience (Self)
James Joyce’s Ulysses is given the metal treatment courtesy of Agenbite Misery and their debut album, Remorse Of Conscience. Each song is based on a chapter of Joyce’s modernist masterpiece, an assessment gazed through sludgy, droning black metal. The trio of Agenbite Misery take lines and characters from the book to create elaborate depictions matched by nonlinear songwriting.
Though sludge/black metal is dominant on Remorse Of Conscience, the band never completely sticks to that style. “Telemachean Echoes” is pure powerviolence, while the 14-minute “Mnesterophonia” has almost five minutes of noise and feedback in its middle. That’s not to ignore the industrial beats of “Whatness Of Allhorse” that crackle with dance club energy. Agenbite Misery are the only group that could’ve pulled off this grizzled retelling of Ulysses.
Rating: 3.5
(Dan Marsicano)
Ashes Awaken – Rise (MTS)
Christian metal newcomers Ashes Awaken make their full‐length debut with Rise, immediately positioning themselves as a band ready to carve out space in the modern Christian metal landscape. They arrive with melodic firepower, faith‐driven urgency, and an emotional weight that lingers long after the final chorus. Drawing inspiration from Stryper, Skillet, and Killswitch Engage, the band crafts a sound that feels both familiar and distinctly their own—an invitation to listeners seeking hope wrapped in heavy, riff‐driven intensity.
Across Rise, Ashes Awaken balance grit and uplift with impressive precision, pairing powerful breakdowns with choruses built for both worship nights and festival stages. The production
remains sharp without sacrificing raw emotion, allowing the vocals to shine with clarity and conviction. Tracks like “For You” and “A Better Way” highlight their ability to merge heaviness
with heartfelt intention, resulting in a debut that feels spiritually grounded, musically ambitious, and confidently poised to resonate widely.
Rating: 4
(Jeanetta Briski)
Big Big Train – Woodcut (InsideOut)
The English prog rock band Big Big Train have been around for more than 30 years, but their sixteenth album Woodcut treads new ground. It’s the band’s first-ever concept album, exploring creativity, sacrifice and the thin line between inspiration and madness through the character called The Artist.
There’s plenty of variety, from urgent rock to mellower, keyboard-driven prog. Epic-length numbers like “The Artist” and “Cut And Run” are balanced by more streamlined tracks such as “The Lie Of The Land” and “Dreams In Black And White.” On his second studio album as the band’s frontman, Alberto Bravin, who also handles producing duties, continues to build chemistry and delivers a well-rounded performance. Woodcut is an immersive album, with an interesting storyline and well-written and performed songs.
Rating: 3.5
(Chad Bowar)
Blossoms Fall – La Alma (Eclipse)
Blossoms Fall erupt from Albuquerque with La Alma, a debut EP that fuses explosive breakdowns, soaring cleans, and the atmospheric grit of the Southwest. Formed by Shay Raelynn, Dion Elliott, and Matt Torres, the trio channels influences like Spiritbox and Jinjer while shaping a sound that feels distinctly their own. Tracks such as “Prophecy” and “Affliction” highlight their seamless transitions between aggression and melody, showcasing both technical sharpness and emotional depth that elevate the record beyond standard metalcore formulas.
“Astray” and the title track push their dynamic range even further, weaving haunting vocals with crushing heaviness in a way that feels intentional, cathartic, and resonant. Every moment on La
Alma feels purposeful, forming a cohesive debut that signals ambition and identity. Blossoms Fall emerge as a rising force in modern metalcore, delivering a release that rewards full‐album immersion and hints at even greater potential ahead.
Rating: 4
(Jeanetta Briski)
Cyclone – Known Unto God (High Roller)
The name Cyclone might not sound familiar to some, but in the late 1980s this Belgian band showed huge promise thanks in part to two cult thrash albums. The band was even signed to Roadrunner Records and labelmates included metal heavyweights Sepultura and King Diamond. Sadly, the band fell by the wayside. But in 2018, Cyclone reunited and this Known Unto God EP is the band’s first new release in more than three decades.
As soon as the pounding riffs of “Eliminate” kick off the album, it’s clear that Cyclone mean business and that their business is mean. “The Truth Lies” contains some blistering thrash with razor-sharp guitars and hints of classic Slayer. “Nothing Is Real” contains a slower tempo but the song still feels fierce. In fact, throughout the EP, you get the impression that the band is mightily pissed off with what is going on in the world. Known Unto God proves that within thrash, Cyclone are inferior to none.
Rating: 4
(Chris Galea)
Epimetheus – Perseus 9 (Self)
After emerging in 2022 with an EP, the Bristol, England sludge/doom trio Epimetheus took a few years to write and record their full-length debut Perseus 9. Their lyrics have a space/sci-fi bent, influenced by ’70s writers like Philip K. Dick.
Epimetheus write songs that have plenty of time to develop and shift, running the gamut from ethereal rock to brisk sludge to plodding doom. Things get heavy and intense on tracks like “Coalesce,” the polar opposite of the first third of “Held No More,” which does eventually kick in. The vocals, often low in the mix, are sometimes melodic, other times more aggressive. Perseus 9 is an album that requires patience, as things tend to unfold slowly with a fair amount of repetition. But Epimetheus always get to the payoff, and make it an enjoyable ride.
Rating: 3.5
(Chad Bowar)
Karnivool – In Verses (Cymatic)
Karnivool’s In Verses marks a poignant and atmospheric return, centering emotional weight over sheer virtuosity. Its heartfelt vocals and measured, cinematic arrangements prove the band’s enduring ability to craft music that resonates deeply, offering a powerful blend of introspection and expansive sound.
While the album’s second half settles into a notably softer, more subdued space — lacking some of the opening tracks’ dynamic drive — the songwriting remains consistently strong. This focused, deliberate comeback reaffirms that a single, thoughtfully crafted statement from Karnivool holds far greater value than frequent, lesser releases.
Rating: 4
(Carlos Tirado)
Lomor – Sabouk Rouge (Rockshots)
Lomor bring a listener thrash metal from Réunion, an island off the coast of east Africa. Though not well known worldwide for metal music, Sabouk Rouge fits neatly into the modern thrash culture. Lomor aren’t a fun-loving group though, as their music has a much darker energy coursing through it. There is some bite behind these riffs, as well as in the Creole-sung lyrics.
Sabouk Rouge is paced pretty well, darting between highspeed face melters and brutish fist pumpers. The album does skid its way to the end, with the forgettable instrumental “The Ugly, The Bad & The Bastard” and a closer in “Nevroz” that is a lesser successor to the closer off their Perseverance Of Sickness debut album, “Psykoz.”
Rating: 3
(Dan Marsicano)
Phendrana – Cathexis (Self)
Anuar Salum’s background in classical music has ripple effects on Phendrana’s second album, Cathexis. The musician composes all the music and lyrics (save for a few narration lines taken from other sources like the 2014 video game Dark Souls II) and performs most of the instruments. He does bring in other people to accentuate the progressive black metal, including vocalist Ana Bitrán who sings on all four songs.
The classical side comes out at various points in the album, from the multiple woodwind instruments used in the title track to the grand piano solo in the intro to “The Effigy & The Titan.” That’s just the first of many directions the substantial closer goes, including an ambient stretch and a couple of great guitar solos. Phendrana offers Salum a wide berth to innovate his own idea of black metal.
Rating: 4
(Dan Marsicano)
Puscifer – Normal Isn’t (Alchemy/BMG)
Maynard James Keenan is part of a few different projects, none of them overly prolific when it comes to studio albums. Experimental/art rockers Puscifer have a more extensive catalog thanks to numerous remix albums, EPs and live releases. Normal Isn’t is Keenan, Mat Mitchell and Carina Round’s fifth full-length, following 2020’s Existential Reckoning.
The quirkiness and experimental forays Puscifer are known for are fully intact, though guitars are a bit more prominent this time around. Influences range from goth to punk to industrial. And even at their most avant-garde, there still are catchy melodies and hooks. Keenan’s Tool bandmate Danny Carey guests on “Seven One,” with narration from Ian Ross, the father of Nine Inch Nails’ Atticus Ross. Normal Isn’t is an apt title, as Puscifer’s creativity and fearless musical exploration results in another unconventional but compelling album.
Rating: 4
(Chad Bowar)
Stress Spells – Hearts Never Tire (Fuzz)
Stress Spells’ lineup has evolved since their 2022 demo, now solidified as a quartet. All four members of the New Jersey band (Jack Carino, Jillian Keats, Adam Kaniper and Kevin Henson) provide vocals on Hearts Never Tire.
Chaotic hardcore, aggressive screamo/skramz and edgy punk are all part of Stress Spells’ repertoire. Most of their songs are razor-sharp and concise, like opener “Too Little Too Late” and “A Beautiful Dance With A Chainsaw.” The only track over three minutes is “Calloused,” which gets off to a melodic start before unleashing intensity and heaviness. Hearts Never Tire is sometimes dissonant, other times accessible, but always unpredictable.
Rating: 3
(Chad Bowar)
Tailgunner – Midnight Blitz (Napalm)
There are plenty of bands attempting to channel the spirit of the NWOBHM, but how many have the endorsement of former long-time Judas Priest guitarist K.K Downing? The legendary axeman also produced British mob Tailgunner’s second album, Midnight Blitz. You can sniff the youngsters’ authenticity from miles away, and detect the points of reference, too. From twin lead guitars to galloping rhythms and soaring melodies, they are unapologetically committed to their forebears, from early Def Leppard to Motörhead.
It’s familiar, and not every song is a winner, but they add their own flourishes, such as quality guitar solos, to stamp some individuality on their chosen style. Standouts include the energetic title track, Maiden-fueled “Follow Me in Death,” Priest-tinged mini-epic “Barren Lands and Seas of Red” and power metal foray “Eulogy.” This album is derivative, but often this brand of classic metal’s self-referential nature is precisely the point. The group’s youthful enthusiasm but timeless spirit should endear them to both young heavy metal fans and the grizzled, battle jacket-sporting veterans at the back of the room.
Rating: 3.5
(Brendan Crabb)
Visions Of Atlantis – Armada – An Orchestral Voyage (Napalm)
Coming off of the immense success of their 2022 Pirates release and 2024’s Pirates II – Armada, Austrian symphonic metal powerhouse Visions Of Atlantis have revisited their 2024 release with Armada – An Orchestral Voyage all the same tracks but performed as an all instrumental orchestral mix.
From start to end, the album feels like a pirate themed Dungeons and Dragons game with the amount of whimsy and adventure one may feel while listening to this. It helps that the album was mixed and mastered by vocalist Michele Guitoli; the attention to detail is shown in tracks like “Ashes To The Sea.” While the original version of Pirates II – Armada was a solid release, Armada – An Orchestral Voyage further captures the Pirates of the Caribbean feeling already well established previously.
Rating: 3.5
(Dalton Husher)
