SONIC SELECTIONS O))): 10 Essential albums released in May, 2025

Artist: low before the breeze
Album: “A whole beneath the home we shared”
Release date: May, 30th 2025

genre: blackened hardcore, chaotic hardcore, sludge, post hardcore

Artist: Rivers of Nihil
Album: “Rivers of Nihil”
Release date: May, 30th 2025

genre: progressive death metal

Artist: Obstruktion
Album: "The End Takes Form"
Release date: May, 30th 2025

genre: death metal, hardcore

Artist: Vildhjarta
Album: “där skogen sjunger under evighetens granar”

Release date: May, 30th 2025

genre: thall, djent

Artist: Coldsblood
Album: "Obscured into Nebulous Dusk"
Release date: May, 30th 2025

genre: black metal, funeral doom, death doom

Artist: Unmerciful
Album: “Devouring Darkness”
Release date: May, 22nd 2025

genre: brutal death metal

Artist: …And Oceans
Album: The Regeneration Itinerary
Release date: May, 23rd

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genre: symphonic black metal, death metal

Artist: Graverealm
Album: "Betrayer"
Release date: May, 23rd 2025

genre: brutal death metal, technical death metal

Artist: Lastima
Album: “A Pain Bloomed from my Lungs”
Release date: May, 16th 2025

genre: black metal, screamo, post hardcore

Artist: Telos
Album: “what they built”
Release date: May, 9th 2025

genre: blackened hardcore, mathcore, chaotic hardcore, screamo

ALBUM REVIEW: Septicflesh - "Codex Omega"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 01/09/2017

Label: Season of Mist

Septicflesh mostly sticks to what it is strongest at, and where its legend has been built: in beautifully composed, wicked death metal.

“Codex Omega” CD//DD//LP track listing

1. Dante's Inferno

2. 3rd Testament               

3. Portrait of a Headless Man

4. Martyr              

5. Enemy of Truth

6. Dark Art           

7. Our Church below the Sea

8. Faceless Queen

9. The Gospels of Fear

10. Trinity

The Review:

Hailing from Athens, Greece, Septicflesh has carved one of the most distinctive paths in extreme metal. Ten albums into its career, the quartet creates a brand of symphonic death metal that is rare for its style as it is in terms of longevity. "Codex Omega" marks the first album for the group since 2014, when "Titan" beguiled audiences. However, Septicflesh has a catalog of many triumphs, including 2011's "The Great Mass" and 2008's "Communion" as well as many more.

While symphonic death metal is admittedly not as populous as its cousin, symphonic black metal, Septicflesh is, virtually without question, regarded as the best group in the subgenre. Since its formation in 1990, the Greek ensemble has created some of the best music in the scene. Even with a four-year layoff following a breakup and reunion in the early 2000s, Septicflesh has managed not to lose its stride and instead put out some of the most respected music available. "Communion" is still today regarded as a touchstone moment for symphonic death metal. So, when "Codex Omega" was announced, hopes for the group could not have been higher.

Septicflesh begins with "Dante's Inferno." The strings and woodwind create the space here, only to make way for Christos Antoniou's explosive guitar. If you have heard the band before, its ascent on this song will feel familiar. Kerim Lechner's epic drumming surges through the opener, then into "Third Testament." There is nearly a scientific preciseness to it; chords unleash Hell as the orchestra meets them like an infernal chorus all their own. Later, songs like "Dark Art" and "Our Church" hew a similar path. Its signifiers -- lumbering riffs, diabolical vocals and a mammoth sound made larger by the overall arrangement – are not unique for the veteran band. Its members have the reputation they have for outstanding musical performances, and the opening of "Codex Omega" seems poised to do that legacy justice.

"Martyr" begins with a folkloric touch, until the more substantial guitar attack snakes in. With lyrics that convey themes of faith and intolerance ("A strife has grown between faith and wisdom/You choose to stand for the exalted ego/Your creation, a creation maimed/Blame the vultures for their vile way"), Septicflesh is also dedicated to powerful songwriting. The beauty of such a consistent and consummately great band like Septicflesh is you know what you're getting with their albums. The interchange between Christos Antoniou's guttural vocal and Sotiris Vayenas' clean vocals is one of those better features. On a song such as " Portrait of a Headless Man," the duo alternate with aesthetics that share a story ("I am a man with strong regrets/I followed great deceivers/Believe in headless leaders/They played their game, true sons of Cain/But I was a hopeless dreamer/With my head deep in the clouds") and also create an air of menace, even remorse. Their chemistry reminds you why Septicflesh is so loved among death metal devotees.

Septicflesh has, at different points, mixed gothic and black metal influences into its symphonic death metal formula. Those elements are evident in cuts like "The Gospels of Fear." However, Septicflesh mostly sticks to what it is strongest at, and where its legend has been built: in beautifully composed, wicked death metal.

Band info: bandcamp || facebook

ALBUM REVIEW: Carach Angren, "Dance and Laugh Amongst the Rotten"

By: Ernesto Aguilar


Album Type: Full length
Date Released: 16/06/2017
Label: Season of Mist

If you had hopes Carach Angren could dig that hole back in your heart that their previous full-length could not, you will certainly not walk away disappointed.  The overall composition is simply superlative.

 

"Dance and Laugh Amongst the Rotten" CD//DD//LP track listing:

1. Opening

2. Charlie

3. Blood Queen

4. Charles Francis Coghlan

5. Song For the Dead

6. In De Naam Van De Duivel

7. Pitch Black Box

8. The Possession Process

9. Three Times Thunder Strikes

The Review:

Black metal has many signifiers. The harsh thunder of the music itself. Lyrical themes oriented around the darkest corners of our imaginations. A vocal style that is unmistakable. Lost in this cacophony – and to history for some – is a cornerstone of what we regard as black metal, a flair for the presentation.

Consider the classic black metal image in your mind’s eye. Performers like Venom, Bathory and, of course, Mercyful Fate surely spring out first. Their fidelity to the visual even before the ascendance of music visuals made them infamous. Today, with all manner of indie and international horror films engulfing what would otherwise be our wildest mental pictures, not as much black metal is as adept at setting the blackened altar as back in the days of the founders. That assertion could be heresy to some devotees. Still, many black metal bands are gifted at carrying on the story just inside the fearless, and feared, basement of a house that metal music built.

Dutch black metal trio Carach Angren offer their fifth release, "Dance and Laugh Amongst the Rotten," amid much anticipation, not to mention high expectations. The multilingual act is lauded worldwide for its symphonic brand of black metal musicianship. Although its 2015 recording, "This is No Fairytale," was regarded by critics as a disappointment, the band’s body of work is enthralling. Blistering guitars, an ominous build, delicate violins and a dash of piano have long been part of the canon. It was nevertheless unclear if this nine-song release would return Carach Angren to form.

In addition its music, Carach Angren has cultivated a rabid following through their incredible music video presence, which combine crisp, quality visuals with crushing and often sublime music. No sleeveless t-shirts in an empty warehouse here. The group carries forward textured storytelling in the vein of some of the many greats. You can find online many terrifyingly dazzling visuals already for songs from "Dance and Laugh Amongst the Rotten," and they’ll be worth your search, if you do not mind a sleepless night or two.

Many of Carach Angren’s best music has been rooted in folklore and other tales. Such is the case with "Blood Queen," a sonic departure for the group though its themes of death, despair and infernal dealings appear in other cuts here. The specter of a Ouija board floats through the many stories here too, mostly as an usher to that aforementioned despair. It is the vehicle for a malevolent spirit in "Charlie" and reaches its zenith in the album’s closer, "Three Times Thunder Strikes." "Scrambling for matches/Determined to burn it to ashes/She threw the Ouija board to the flames and kneeled to pray/’I wish I never ever, ever listened to my friends’/’Who had said it would be fun to play’/’Now the one that follows me’/’A predator, and me its new prey.’

There’s so much than can be said about the performances, completely separate from the group’s imagery or lyricism. The overall composition is simply superlative. Guitar and drums are fierce as they are jarring on "In de Naam Van de Duivel" (“In the Name of the Devil" in Dutch, though the song is in English). The orchestral crests in "Song for the Dead" are haunting. If you had hopes Carach Angren could dig that hole back in your heart that its previous full-length could not, you will certainly not walk away disappointed.

"Dance and Laugh Amongst the Rotten" is available here:

Band info: bandcamp || facebook

Rotting Christ - "Rituals" (Album Review)

By: Richard Maw

Album Type: Full-Length

Date Released: 12/02/2016

Label: Season of Mist

The sound of the record is focused and tight- also a little drier than their previous studio record, I think. The production is still lavish and well put together, with lots of overdubs, multi tracked vocals, choral effects and what have you. The melding of styles makes for a truly dark album and a rather bleak listen.  Ultimately, there is a lot going in this record- as per for the band. The hidden depths will show themselves with repeated listens. On first listen (or third, as this is) this is an excellent addition to a unique band's discography. Expect to return to it again and again, for music of this quality will not get boring! 

“Rituals” CD//DD//LP track listing:

1. In Nomine Dei Nostri
2. זה נגמר (Ze Nigmar)
3. Ἐλθὲ Κύριε (Elthe Kyrie)
4. Les Litanies De Satan (Les Fleurs Du Mal)
5. Ἄπαγε Σατανά (Apage Satana)
6. Του Θάνατου (Tou Thanatou)
7. For A Voice Like Thunder
8. Konx Om Pax
9. देवदेवं (Devadevam)
10. The Four Horsemen
11. Lok'tar Ogar (bonus track vinyl)

The Review:

Two years and one live record on from the absolutely storming “Kata Ton Daimona Eaytoy” Rotting Christ return with their latest studio record. The band's sound, as noted in previous reviews and no doubt by previous reviewers is hard to pigeonhole; elements of black metal, death metal and symphonic metal coalesce into a truly unique sound. Listen to the opener “In Nomine Dei Nostri” for a fine example of their approach. Like many bands with two brothers involved (AC/DC, Obituary, early Deicide, early Sepultura and so on) the band have carved their own niche and are sticking with it.

The sound of the record is focused and tight- also a little drier than their previous studio record, I think. The production is still lavish and well put together, with lots of overdubs, multi tracked vocals, choral effects and what have you. The melding of styles makes for a truly dark album and a rather bleak listen. Tracks such as “Elthe Kyrie” utilise time changes to good effect, voice-overs abound (which I cannot understand) and the drums have double kicks going almost all the time with the snare switching the pace at will. These elements are all present and correct on “Apage Satana” (complete with the choral style of vocals familiar to long time listeners).

“Les Litanies De Satan” is particularly savage to start and continues in French for the opening verse! Again, the use of slow riffs/fast beats and vice versa marks this as prime Rotting Christ territory. As the album progresses into its latter half with a brace of tracks over six minutes in length the scope widens somewhat. Rolling rhythms are employed and, although the tracks are longer, a more straight forward feel takes hold. To be fair, “Komx Om Pax” is not exactly easy listening and employs blasts, but I found these two songs weirdly accessible.

As the record enters the home straight, things lighten a little for “Devadevam” and those elements of Type O Negative that I usually hear when listening to the band are present in the insistent chanting. Certainly, the band share a sense of drama and lush production- if not the same sonic template. “Tou Thanatou” is a burst of speed and utilises dynamic build ups. “The Four Horsemen” is not a cover, I can assure you, but is instead a fine piece of dramatic music- bass slides underpinning a strangely slow track for the band.

Ultimately, there is a lot going in this record- as per for the band. The hidden depths will show themselves with repeated listens. On first listen (or third, as this is) this is an excellent addition to a unique band's discography. Expect to return to it again and again, for music of this quality will not get boring!

“Rituals” is available here

Band info: official || facebook

Astral Blood - 'Astral Blood' EP (Review)

Album Type: EP

Date Released: 24/2/2015

Label: Tridroid Records

‘Astral Blood’ track listing:

1). Secluded & Forbidden

2). Interlude

3). Our Almighty Gaze

Astral Blood is:

Andrew Rasmussen - Vocals, Lyrics
Tommy Curry - Guitar
Joe Waller - Keys, Bass, Drums, Guitar, Vocals

Review:

Hailing from Minneapolis, Minnesota, is a terrifyingly good symphonic black metal band called Astral blood, creating a new feel for the genre that captures evil and darkness and then regurgitates it into your ears.

​

The EP opens with Secluded and Forbidden, immediately the track is in full gear. This is by far my favorite track from the EP because of the layering. It’s dark, terrifying, and beautiful all at once because of the depth created by the keyboard. Andrew Rasmussen creates authentic vocals that are easy to follow and complement the music. His lyrics for this track speak of death and evil shadows; they are well written and work with the theme the instruments are creating. The drums are blasting away, as any black metal drummer should, but with enough breaks so it doesn’t get too repetitive. This song is a must listen and you should try your best not to stage dive from your keyboard.

​

The second track is an eerie interlude of spoken word by Holly Axelrod. This poetic addition to the EP starts off with light piano work that is gloomy and at first misleading. Holly sounds like a witch casting a dark spell of revenge. This track works great with the theme of the EP and I thought that its placement was wise. After a while the song opens up and the guitars are playing some special doom riffage that makes the words darker and filled with rage. Even though the track is different in tone, the EP would probably feel empty without this track. A note to any listener, try and follow the violins in the background, there’s a lot transpiring if you listen for it.

​

The final track is great but I have to say it is very similar to Secluded and Forbidden. It opens with a wall of sound and the most impressive drum work on the EP. This track is a little grindier but after a repeated listens, you can really appreciate what’s going on. My favorite section is around 2:30, the guitar sounds so dark and almost droning. The guitars get light towards the end of the song but keyboards once again really shine throughout the entire song. The vocals end with a great dual approach, making the lyrics even more powerful and permeate. The lyrics speak of what we miss in life and I really think there’s a strong message behind it.

​

Astral blood’s self-titled work isn’t something that needs to grow on you. During my first listen I was completely taken aback and it quickly became a favorite. I’ve shown it to friends who appreciate this genre but I feel like any metal enthusiast can enjoy this. Yes it’s a very short EP to some standards, but that’s what’s so great about it. It’s a quick treatment for your metal needs. I consider this EP a must listen and deserves to be heard on different levels and lyrics to be read and interpreted.  I am truly impressed by this bands work and look forward to their next project.

Words by: Jihad Nasser

You can pick up copy from 24/2/2015

For more information:

Facebook | Bandcamp

Saille - Eldritch (Album Review)

Album Type: Full-length

Date Released: 10/11/2014

Label: Code 666 Records

‘Eldritch’ CD//DD track listing:

01. Emerald

02. Walpurgis

03. The Great God Pan

04. Aklo

05. Cold War

06. Eater of Worlds

07. Red Death

08. Dagon

09. Carcosa

Saille is:

Dennie Grondelaers | Vocals

Reinier Schenk | Guitars

Jonathan Vanderwal | Guitars

Kristof Van Iseghem | Bass

Dries Gaerdelen | Keys

Kevin De Leener | Drums

Review:

Perhaps it’s because I just don’t run into this kind of symphonic black metal very often these days, but there’s a charm and personality to ‘Eldritch’ that I believe a lot of bands are missing. Perhaps it’s nostalgia for the late 90s when everyone from Emperor to Limbonic Art to Anorexia Nervosa were opening up new worlds of musical possibility for me, but this just works for me. If I had to place a couple of points of reference, I’d say you’d be looking at  ‘Spiritual Black Dimensions’ era Dimmu Borgir coupled with the ferocity of Anorexia Nervosa; ‘New Obscurantis Order’, in particular.

That you can hear and point out so many different points of influence really shouldn’t be held against Saille. Sure, they aren’t reinventing the wheel, but then again; how many bands are? Surely, in 2014, we’ve got more than enough bands offering their variations of Neurosis or Converge or Dismember or Burzum or Weakling. In a heavy metal universe where the choices are often nostalgia, djent or prog; I find myself increasingly excited about the trails with fewer footprints on them.

One of the most important ingredients to successful symphonic black metal is a healthy relationship with musical drama and theatrics, both of which Saille have mastered sharply. “Walpurgis”, for example, opens up with preposterous keyboard acrobatics before settling into a riff more focused around guitar octaves ala Emperor’s “An Elegy of Icaros”. Once things calm down a bit, uneasy clean guitar, hushed spoken word and a floating guitar lead take center stage. It’s moments like the one I’ve just described that make this such a blast to listen to. It’s escapist fantasy, and in a black metal dealing more and more with real emotion and real life, this is a much-needed alternative.

A hefty chunk of ‘Eldritch’ is spent with Saille blasting and double-kicking their way through 12/8 beats, and while there is definitely some variation here and there, it’s predictable. It’s the kind of predictability that works in episodic television. For example, as a kid, I always knew the Batman would foil The Joker/Penguin/The Riddler’s plot and justice would prevail within an episode or two. Here, you know that blast beast is going to break into some variation of the “Inno A Satana” beat or even a brief, dynamically quieter section, but you don’t really care. You don’t want Batman actually dying twelve minutes into a mid-season episode, and you don’t want Saille to break into some ghastly shoegaze passage or throwing in a bit of jazz to prove how well-rounded and inventive they are.

Saille provide a new entry into a very specific and under-utilized niche. This is pure late 90’s symphonic black metal worship. If you were a fan of that style in its prime years, and you’re ready for a break from the earnestness of modern day and, in particular, American black metal; this should more than do the trick. It’s well-written, well-played and memorable for its songwriting, if not its novelty.

Words by: Daniel Jackson

You can pick up a digital copy here and a CD copy here.

For more information:

Official Website | Facebook | Twitter