This week’s reviews include releases from Absolute Power, Annihilus Mundi, Architect Of Seth, E-L-R, Falsimonian, Gates Of Kiev, Hatebreed, Hyperion, Hypno5e, Night Cobra, Prong, Saor, Stricken, Thrown, Underdark and Waylander.
The ratings are on a 5-star scale.
Absolute Power – Needs Must When The Devil Drives (Time To Kill)
British metallers Absolute Power will be a familiar name to some due to their core members, bassist Shane Embury (Napalm Death etc) and renowned producer/engineer Simon Efemey on vocals. However, Needs Must When The Devil Drives is only their second album, coming fifteen years after their debut, but continuing with their desire to create a sound reminiscent of their ‘80s heavy metal heroes.
With a new set of like-minded musicians aiding them this time around, only Ripper Owens is retained as a guest from that debut, but the result is just as comprehensive. Absolute Power absolutely nail it – they just sound so…British! Their riff-driven approach with confident mid-range vocals has evolved and developed, yet if it wasn’t for the excellent modern production, this album could easily have been conceived in the early to mid ‘80s, and, as it is now, would have been a damn fine addition to your metal record collection.
Rating 3.5
(Andy Barker)
Annihilus Mundi – The Dead Sea Scrolls (Self)
Plenty of metal albums borrow from anime, but few use it to work through real pain. On The Dead Sea Scrolls, Daniel Saillant, the engine behind Annihilus Mundi, filters his experiences with social anxiety and repressed trauma through the prism of the 1995 anime series Neon Genesis Evangelion and 1997 film The End of Evangelion. The result is a 77-minute, thirteen-track concept record that aims to be personal, ambitious, and heavy. Death metal, shoegaze, and progressive rock meet orchestra, harpsichord, piano, and electronics, opening with cicadas on “Second Impact (Overture).” Highlights include the crowd-chant death metal of “Black Moon,” the dial-up-modem weirdness of “King of Thorns,” and the four-part “Terminal Dogma” suite, which follows Asuka’s death and reworks Elgar’s “Nimrod.”
Guests include Chris Jones of Aether Realm and Sarah Hartman of Aversed, while Noah Magnelli’s vocals anchor the record. The closer, “Human Instrumentality,” widens the focus from private anguish to a critique of religious propaganda as control, suggesting personal suffering and systemic harm are connected. The risks are clear: seventy-seven minutes is a lot, and Evangelion novices may feel lost. For progressive death metal fans who value honesty and big ideas, this looks like one of the season’s most interesting underground releases.
Rating: 3
(Jeanetta Briski)
Architect Of Seth – Solitude Solaire (I, Voidhanger)
Solitude Solaire is not easy to predict how it’s going to turn out, as the point that Architect Of Seth start at is vastly different from where they end up. If a listener were to make assumptions based on the first two or three songs, they would hear uproarious death/thrash metal. Listen past that, however, and it’s like a whole new band shows up.
This iteration has no qualms about bringing in female vocals, keyboards and acoustic guitar solos. And it’s not just one song that does it. The rest of the album emphasizes the progressive/technical attributes of Architect Of Seth. Their last record, 2013’s The Persistence Of Scars did this too but not in the daring way of Solitude Solaire.
Rating: 3.5
(Dan Marsicano)
E-L-R – Atropa (Prophecy)
Nearly five years has elapsed since the Swiss doom/post metal band E-L-R issued Vexier. During the early stages of recording their third album Atropa, drummer M.K. had to depart due to health issues and appeared on just one track, with D.B. coming on board to record the rest.
The compositions are atmospheric, with ethereal vocals from S.M. and I.R. that are low in the mix. D.B.’s male vocals provide contrast on “Solace Tracery.” The songs unfold slowly with lengthy instrumental sections, but the pace is generally mid to uptempo. Moments of tension and intensity release into mellower parts and the cycle repeats. Most tracks are in the 6 to 7-minute range, with E-L-R closing with the nearly 11-minute “Echo Space.” Atropa is a dynamic album that requires patience to fully absorb.
Rating: 3
(Chad Bowar)
Falsimonian – For Survival (Self)
For a debut EP, there’s an impressive level of confidence from Falsimonian on For Survival. The group, comprised of members from the United States and Mexico, initially seems like prototypical modern melodic death metal. As the EP goes on, especially in its second half, there’s a surge of progressive/jazz fusion qualities to the music. Guitarist Jesus Fuentes puts his keyboard playing to the forefront on the last few songs.
Falsimonian is nowhere near the first melodic death metal band to use keyboards, but their use is where the band shines. There are multiple keyboard solos on the EP, from a synthy charge in “Judgment” to classical piano sweeps on the title track. Their inclusion is the catalyst for how For Survival evolves in real time.
Rating: 3.5
(Dan Marsicano)
Gates Of Kiev – Gates Of Kiev (The Laser’s Edge)
Formed out of their love for vintage music and informal garage sessions, the Dutch trio Gates Of Kiev and their self-titled debut album have come forth to input their funk spin on the progressive rock scene.
The heavy use of organs throughout adds a level of funk that at first may seem off but it helps make it stand out amongst its contemporaries as shown the best in “Baltazar.” Despite the slow start in the beginning track “Hamlet Burns,” this self-titled debut album sets Gates Of Kiev up for a strong start into the scene and hopefully can be a showcase of the creativity that one can add to an industry so fast.
Rating: 3.5
(Dalton Husher)
Hatebreed – Fatal Paradox (BLKIIBLK)
It took a while for Hatebreed‘s latest album Fatal Paradox to happen, coming six years after Weight Of The False Self. There was also the acrimonious exit of longtime bassist Chris Beattie in 2024. Their ninth full-length was produced by longtime collaborator Chris “Zeuss” Harris.
Hatebreed doesn’t stray from their trademark brand of metallic hardcore that features catchy riffs and passionate vocals from Jamey Jasta. There are blistering tracks like “Kill Count Increase” and more deliberate songs such as the title track. Obituary’s John Tardy guests on “Sacrifice Season,” adding even more edge to the intense number. The album closes with the Corrosion Of Conformity cover “Poison Planet,” a chaotic 90 second song that’s right in Hatebreed’s wheelhouse. Fatal Paradox doesn’t break much new musical ground, but is flawlessly executed and another quality album to add to the band’s impressive discography.
Rating: 3.5
(Chad Bowar)
Hyperion – Elysia (Willowtip)
When a band takes a decade between releases, as Hyperion does with Elysia, there’s usually a variety of mitigating factors that led to the long wait. Lineup changes, long recording process, general life getting in the way; Hyperion went through all that and more. Yet, another reason not factored in might be that the band needed all this time in order to properly take their melodic black/death metal to the next level.
Hyperion get close to achieving that with Elysia, as its 73 minutes demand close inspection. The overabundance of orchestral flourishes and wily riffs can be intimidating upon first listen, getting a little less so once a listener gets through the full album at least six or seven times. That may discourage people, yet Hyperion get credit for their unwavering determination to put all of themselves into Elysia.
Rating: 3.5
(Dan Marsicano)
Hypno5e – Trame Noire (Pelagic)
The title of the French progressive band Hypno5e‘s latest album Trame Noire translates to “dark infrastructure.” That’s the urban architecture designed to preserve the blackness of the night for nocturnal species. There are just five songs on the album, but this is no EP, as it clocks in at around 40 minutes.
Hypno5e’s songwriting is dynamic and diverse, with constantly shifting soundscapes. The trick is to keep a sense of continuity even as things are changing regularly, and the band is able to do that. Songs shift from complex and technical to mellow and proggy and everywhere in between. Opener “Lost Fires” sets a high bar, and the subsequent songs meet those exacting standards, closing with the ten-minute title track that has some of the record’s most melodic parts but doesn’t neglect the heaviness. Trame Noire is an impressive balance of avant-garde and accessibility.
Rating: 4
(Chad Bowar)
Night Cobra – Beware The Dark Future (Nameless Grave)
Houston heshers Night Cobra‘s sophomore effort is traditional metal time travel on Beware The Dark Future. It’s an album that feels as though it was made in the mid ‘80s warning of the times of the actual present. Things start off fast with “Keepers of the Cult” but move to a midtempo effort on “Cut By The Knife” for a varied attempt at a genre that really seems to know no bounds.
The vocals are somewhat gruff and melodic while the chanted chorus gives a fist pumping and anthemic European metal flavor to the album. The aptly named “Demons of Fire” is a scorcher of a track that dances between the flames of speed and aggression making them sound like the speed metal merchants they have aimed to emulate. Night Cobra are a solid throwback with ample energy to pump up a crowd in a live environment. Beware The Dark Future signals a return to retro riffs aplenty.
Rating: 3.5
(Tom Campagna)
Prong – Prong (Napalm)
Prong‘s self-titled album is a blast of crossover thrash driven by corrosive riffs and forceful melodies. Tommy Victor weaves alternative metal, post-grunge and hardcore into the band’s unmistakable identity. “Fear The Sun” stands out with its raw garage sound and catchy chorus, making it an ideal single and introduction to the album. “Uncertain Truth” explores a more melodic side. Andy Sneap’s mixing and mastering preserve the music’s power while giving each instrument room to breathe.
The stylistic diversity flows naturally: “Transgression” blends thrash and industrial elements, while “Simulated Drowning” veers toward speed metal. The exception is “Our Continuance,” an excellent, melancholic composition with doom metal overtones that abruptly disrupts the album’s momentum. Its quality is undeniable, but placing it last cuts short the adrenaline built up throughout the record. Even so, Prong proves the staying power of a band that balances aggression and melody.
Rating: 4
(Jose Cardona)
Saor – Caledonia (Season Of Mist)
Scottish atmospheric folk/black metal band Saor have continued to grow in confidence, maturity and songwriting ability since their inception back in 2013. Caledonia appears just a year after their last album Amidst The Ruins, but is actually five compositions from Roots, Aura, and Guardians, reworked, re-recorded and given the same treatment Saor’s most recent albums received.
Main-man, multi-instrumentalist/vocalist Andy Marshall, retains the same guest drummer and violinist, along with Ella Zlotos on Whistles, pipes and additional vocals, giving further continuity from last year’s release and assuring these songs fit perfectly with recent output. The ideas behind these tracks were always top quality, classic “Caledonian Metal” that Saor are known for, effortlessly blending extreme metal with windswept atmosphere and traditional Celtic folk melodies. One listen and you hear Saor encapsulate the essence of Scotland – the mountains, the countryside, the lochs, the spirit, distilled into metal and delivered with heartfelt passion.
Rating: 3.5
(Andy Barker)
Stricken – From Dark Dimensions An Unspeakable Presence Awakens (HPGD)
From Dark Dimensions An Unspeakable Presence Awakens is the sophomore album from sludge/black metal group Stricken. The group takes the sullen drudge of From A Well Of Emptiness, A Stygian Serpent Born and adds bite to it with reliance on the blackened side of their music. Though it’s not a full unraveling of their sludgy base, the short stints of hellraising speeds on these five songs are engaging.
From Dark Dimensions An Unspeakable Presence Awakens reaches its pinnacle with the 15-minute closer “From Nothing To Nothing,” which encapsulates all facets of Stricken’s sound. There are a few minutes in the middle that goes full ambient with feedback that is the sonic equivalent of being sucked into a black hole. Whatever entity is unleashed from this album is a world destroyer, merciless and eager for annihilation.
Rating: 3.5
(Dan Marsicano)
Thrown – Unwanted (Arising Empire)
Swedish metalcore outfit Thrown have mastered concise, punishing aggression, and their sophomore record Unwanted is a relentless barrage of modern heavy music. The band builds on the momentum of the breakout debut Excessive Guilt, refining a blend of metallic hardcore, nu-metal bounce, and dark, rap-influenced rhythms. Drummer and producer Buster Odeholm (Humanity’s Last Breath, Vildhjarta), gives the record its clinical, punchy foundation, while guitarists Johan Liljeblad and Andreas Malm deliver staccato riffs, dissonant pitch shifts, and sinkhole breakdowns.
Frontman Marcus Lundqvist spits cadence-heavy, venomous vocals about self-loathing, isolation, and rejection, which justify the album’s bitter title. The real strength is brevity. Across 11 tracks, songs hover around two minutes, and “bare minimum” barely passes one. There are no filler intros or repetitive bridges, just devastating breakdowns and infectious grooves that demand an immediate replay. Unwanted secures Thrown’s place among Europe’s premier heavy acts: lean, uncompromising, and exhilarating in its clarity and relentless aggression.
Rating: 3.5
(Jeanetta Briski)
Underdark – O Come Forth Annihilation (Church Road)
O Come Forth Annihilation has Underdark in the post-metal side of black metal, with some hardcore toughness mingling in. Their third album is in line with 2023’s Managed Decline, capitalizing on a familiar structure (both albums starting with a short intro track leading into a lengthy song) and musical flexibility.
Underdark let their shoegaze influences have more prominence on “Non Linear Warfare” and “Children Of Men,” though vocalist Abi Vasquez keeps a harsh tone. “Death Of A Toolmaker” is strictly black metal for its eight minutes, followed by a buzzy interlude in “Hollow Platitudes.” O Come Forth Annihilation is a refinement of Underdark’s sound that doesn’t stand out much from Managed Decline.
Rating: 3
(Dan Marsicano)
Waylander – Mac Tire – Son Of The Land (Rockshots)
Northern Irish pagan/folk metal band Waylander have been around for over thirty years, and although Mac Tire – Son Of The Land is just their sixth album, the band have crafted their own unique way of mixing extreme metal with traditional Celtic elements.
This album sees the band evolve another step, with their expert use of whistles and Uilleann pipes, managing once more to hold their own within the context of the extreme metal, due to Waylander’s intelligent approach to songwriting. Their use of mostly harsh vocals means they don’t rely on catchy choruses. Instead, their melodies are within their music, rooted in Irish folk tradition and incorporated perfectly into each track. A core part of each song, yet also a striking embellishment. Waylander may not release many albums, but when they do, you can be sure it’ll be worth the wait.
Rating: 4
(Andy Barker)
