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Angry Metal Guy<a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-nephylim-circuition/" rel="nofollow noopener" target="_blank">AMG’s Unsigned Band Rodeö: Nephylim – Circuition</a>By Dolphin Whisperer“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”Oranjeboom, a low-frills lager, holds little love in its home country of the Netherlands, so much so that its production there was discontinued until only recently.<a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-nephylim-circuition/#fn-214756-1" rel="nofollow noopener" target="_blank">1</a> Why does that matter? It really doesn’t, but it is a fun fact about the Netherlands and a beer synonymous with their lineage. Nephylim hails from the Netherlands too, and, with any luck, their brand of big scope, big sad melodeath will stake a claim that lands with bolder flavor. Over the past ten years, this five-some has cut an EP and a full-length through their own determination. And now, with this sophomore follow-up Circuition, Nephylim may just be hitting their stride. Or, at least, our Rodeö crew seems to think so. Crack open a cold one and sip on riffy sadness. – Dolphin Whisperer<a href="https://nephylim.nl/" rel="nofollow noopener" target="_blank">Nephylim</a> // <a href="https://nephylimnl.bandcamp.com/album/circuition" rel="nofollow noopener" target="_blank">Circuition</a> [March 7th, 2025] Steel Druhm: Sometimes when you press play on a Rodeö candidate, you wonder why they aren’t signed because they sound so polished and professional. Such is the case with Dutch melodeathsters, Nephylim, and their sophomore opus, Circulation. Taking cues from Ominium Gatherum, Be’Lakor, Enshine, and the more progressive works of Edge of Sanity, Nephylim voyage across various styles of melodeath but always keep things anchored firmly in the Wheelhouse of Steel. After a beautifully regal instrumental opener, Circulation heats up on “Travail Pt. 2 – Animus,” which is like a glowing distillation of Wolfheart and Be’lakor with a seriously epic vibe coursing through it. The guitars riff, trill, and shimmer with a Tuomos Saukkonen-esque flair as grand orchestrations amplify the sound to herculean proportions. It’s the beast of death metal with the beauty of melancholic music, and this style has a proven appeal. I love the majesty of “Grand Denial” and the hints of Dark Tranquillity woven throughout, and the title track bears traces of Dan Swanö’s Moontower and Tomi Joutsen-era Amorphis as it seamlessly melds heavy and sadboi moments. Unfortunately, not every cut hits with the same soul-searing slash of wintery pathos. “Amaranth” is a bit too generic and pedestrian, and though “Withered” does some things very well, the writing is a touch less compelling. Elsewhere, closer “Inner Paradigm” feels like something from the later eras of In Flames, not bad, but less impactful. At thirty-eight minutes, there are bits of bloat scattered around, but nothing that’s fatal if swallowed. There’s a lot to like about Circulation, and I’m left still wondering why Nephylim aren’t signed. With this much potential, they should be! 3.0/5.0GardensTale: From two live shows, I already knew Nephylim were good. I could not have anticipated what a masterclass Circuition would turn out to be, though. Combining the maudlin symphonic details of Fires in the Distance with the melancholy hope and impeccable composition of Countless Skies is no easy feat, but the songwriting has taken a giant leap forward. Circuition is absolutely packed with beautiful melodies, addictive hooks and enticing cascades. The flow is downright brilliant, such that even after a dozen spins, I find myself glued to the speaker in anticipation of the next stanza, the next riff, the next solo. These are linked together with transitions that are set up and knocked down perfectly, helping every track rush past in spiraling eddies like white water rapids after heavy rain. “Circuition” yanks the heart-strings the hardest; follow-up “Withered” has a more basic structure, but the amazing harmonies and powerful solo make it a standout anyway. Cherry on the cake is the top-shelf production, with meticulous mastering and a balanced mix. The sparse clean vocals aren’t great, just okay, and a few tracks end a little more abruptly than I’d like, but these are small bumps on an engaging journey that begs to be spun again and again. 4.0/5.0Kenstrosity: Dutch sadboi melodeath quintet Nephylim graced my Bandcamp feed a few months back. I was intrigued, but did not bite. At least, not until our Kermity GardensTale recced it for Rodeö duty, at which point I dove straight in. Embodying a wondrous merging between <a href="https://www.angrymetalguy.com/countless-skies-glow-review/" rel="nofollow noopener" target="_blank">Countless Skies</a>, <a href="https://www.angrymetalguy.com/fires-in-the-distance-air-not-meant-for-us-review/" rel="nofollow noopener" target="_blank">Fires in the Distance</a>, and a light touch of <a href="https://www.angrymetalguy.com/the-drowning-the-radiant-dark-review-and-album-premiere/" rel="nofollow noopener" target="_blank">The Drowning</a>, sophomore effort Circuition garnered instant adoration from this sponge. A rarer feat, Nephylim’s latest only deepened its hold on my heart, as the opening “Travail” suite enamored with epic soars of melody, crushing riffs that ground the piece in deathly gravity, and emotive roars that shake the roots underfoot. “Amaranth” doubles down on that palpable momentum, bringing forward a fun factor that belies Circuition’s introspective character. Beautiful synths and keys dot the landscape just above that metallic verve and swinging rhythm, evoking something inherently mystical while still operating within the bounds of the human spirit (“Circuition”). As the potent pull of songs like “Grand Denial,” “Withered,” and immense closer “Inner Paradigm” continually challenge my perception of what constitutes a highlight, I find myself universally immersed, committed, and compelled by Circuition. Experiencing this, as much as I pine for new material from those great acts that Nephylim remind me of, I know in my soul that Circuition is one of 2025’s foremost contenders. Great!Maddog: When Fenrir finally closes the curtain on 2025, Nephylim’s Circuition will be one of my few fond memories of this disastrous year. This hidden melodeath gem triumphs by embracing simplicity without stagnation. No one would argue that Nephylim’s guitarists stretch the limits of human dexterity. And yet, as Circuition buried my ears in riffs upon riffs, it dragged me into its orbit. Blending the classic stylings of Dark Tranquillity with the modern touch of Æther Realm, Nephylim won me over through its irresistible energy. While I initially fell in love with merely a couple of its songs, Circuition’s consistency unveiled itself over time. Indeed, while the closer “Inner Paradigm” was initially my least favorite song, its Shadows of the Dying Sun riffs and its somber ending have made it a highlight. Despite its consistency, Circuition’s mood changes keep it fresh. The fantastic midsection of the album progresses from gargantuan riffs (“Grand Denial”) to tear-jerking Enshine melodies (“Circuition”) to explosive choruses (“Withered”). Circuition is textbook, but it’s both a thrilling spectacle and an emotive powerhouse. Every piece is essential, and every piece is distinctive. 4.0/5.0Killjoy: The term “Nephilim” in the Hebrew Bible is often translated as “giants” in English. Accordingly, melodic death metal band Nephylim does everything big. Riffs? Big. Rumbling death roars? Big. Thunderous rhythm section? Big. Circuition feels like a highlight reel of the serious and somber side of melodeath, with each individual song bringing something unique to the table. “Travail Pt. II – Animus” embellishes the somber intensity of Insomnium with delicate piano keys reminiscent of Fires in the Distance and heaps of symphonic bombast. The suspenseful drum beats which introduce “Amaranth” organically build excitement by layering on bass and then guitar lines before releasing the pent-up energy with a furious snarl and fiery riffs. But there’s also a tender side to Nephylim; “Circuition” adopts a melancholic and folk-tinted mood laced with deep, beautiful croons, all of which I associate with Vorna. Circuition is considerably more ambitious than Nephylim’s debut, but they never let their ambitions spiral out of control. If anything, I’d like to see them continue to develop their symphonic side that they teased in the first two tracks. Although I find the last third of the record ever so slightly less engaging, I can endorse all thirty-eight minutes of Circuition as worthy of your time. 3.5/5.0<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/angry-metal-guys-unsigned-band-rodeo/" target="_blank">#AngryMetalGuySUnsignedBandRodeo</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/angry-metal-guys-unsigned-band-rodeo-2025/" target="_blank">#AngryMetalGuySUnsignedBandRodeo2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aether-realm/" target="_blank">#ÆtherRealm</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/belakor/" target="_blank">#BeLakor</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/circuition/" target="_blank">#Circuition</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/countless-skies/" target="_blank">#CountlessSkies</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dark-tranquillity/" target="_blank">#DarkTranquillity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/dutch-metal/" target="_blank">#DutchMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/edge-of-sanity/" target="_blank">#EdgeOfSanity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/enshine/" target="_blank">#Enshine</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fires-in-the-distance/" target="_blank">#FiresInTheDistance</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/in-flames/" target="_blank">#InFlames</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/independent-release/" target="_blank">#IndependentRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/insomnium/" target="_blank">#Insomnium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mar25/" target="_blank">#Mar25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-death-metal/" target="_blank">#MelodicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/moontower/" target="_blank">#Moontower</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/nephylim/" target="_blank">#Nephylim</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/omnium-gatherum/" target="_blank">#OmniumGatherum</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/self-release/" target="_blank">#SelfRelease</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-drowning/" target="_blank">#TheDrowning</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/wolfheart/" target="_blank">#Wolfheart</a>

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: November and December 2024’s Angry Misses</a>By KenstrositySeeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence! Kenstrosity’s Wintry Wonders <a href="https://www.facebook.com/Caelestra86" rel="nofollow noopener" target="_blank">Caelestra</a> // Bastion [December 13th, 2024 – Self Release]Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of <a href="https://www.angrymetalguy.com/countless-skies-glow-review/" rel="nofollow noopener" target="_blank">Countless Skies</a> lushness, <a href="https://www.angrymetalguy.com/astronoid-radiant-bloom-review/" rel="nofollow noopener" target="_blank">Astronoid</a>al optimism, and <a href="https://www.angrymetalguy.com/dreadnought-the-endless-review/" rel="nofollow noopener" target="_blank">Dreadnought</a>-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current <a href="https://www.angrymetalguy.com/irreversible-mechanism-immersion-review/" rel="nofollow noopener" target="_blank">Irreversible Mechanism</a> (“Finisterre”), <a href="https://www.angrymetalguy.com/kardashev-liminal-rite-review/" rel="nofollow noopener" target="_blank">Kardashev</a> (“Soteria”), or <a href="https://www.angrymetalguy.com/devin-townsend-lightwork-review/" rel="nofollow noopener" target="_blank">Devin Townsend</a> (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.<a href="https://www.facebook.com/pg/EarthboundMusicUK" rel="nofollow noopener" target="_blank">Earthbound</a> // Chronos [November 26th, 2024 – Self Release]I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between <a href="https://www.angrymetalguy.com/amorphis-halo-review/" rel="nofollow noopener" target="_blank">Amorphis</a>, Countless Skies, and <a href="https://www.angrymetalguy.com/dark-tranquillity-endtime-signals-review/" rel="nofollow noopener" target="_blank">Dark Tranquillity</a>, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries <a href="https://www.angrymetalguy.com/rifftera-across-the-acheron-review/" rel="nofollow noopener" target="_blank">Rifftera</a> and <a href="https://www.angrymetalguy.com/svavelvinter-morkrets-tid-things-you-might-have-missed-2018/" rel="nofollow noopener" target="_blank">Svavelvinter</a>. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!<a href="https://www.facebook.com/profile.php?id=61555378127543" rel="nofollow noopener" target="_blank">Flaahgra</a> // Plant Based Anatomy [November 15th, 2024 – Self Release]WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved <a href="https://www.angrymetalguy.com/wormhole-almost-human-review/" rel="nofollow noopener" target="_blank">Wormhole</a>! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA! Tyme’s Time Turners<a href="https://www.facebook.com/solarwimp/" rel="nofollow noopener" target="_blank">Solar Wimp</a> // Trails of Light [November 15th, 2024 – Self Release]The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-1" rel="nofollow noopener" target="_blank">1</a> we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my <del>most recent stint in</del><a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-2" rel="nofollow noopener" target="_blank">2</a> continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five. Thus Spoke’s Fallen Fragments<a href="https://www.facebook.com/yothiriaofficial/?locale=en_GB" rel="nofollow noopener" target="_blank">Yoth Iria</a> // Blazing Inferno [November 8th, 2024 – <a href="http://www.edgedcircleproductions.com/" rel="nofollow noopener" target="_blank">Edged Circle Productions</a>]Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even <a href="https://www.angrymetalguy.com/yoth-iria-as-the-flame-withers-review/" rel="nofollow noopener" target="_blank">charmed a 3.5</a> out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-3" rel="nofollow noopener" target="_blank">3</a> serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.<a href="https://www.facebook.com/Verdant.Realm.Botanist/" rel="nofollow noopener" target="_blank">Botanist</a> // <a href="https://verdant-realm-botanist.bandcamp.com/album/vii-beast-of-arpocalyx" rel="nofollow noopener" target="_blank">VII: Beast of Arpocalyx</a> [December 6th, 2024 – Self-Release]Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain. Killjoy’s Atmospheric Attractions<a href="https://www.facebook.com/p/Nishaiar-100067774879707/" rel="nofollow noopener" target="_blank">Nishaiar</a> // Enat Meret [December 5, 2024 – Self-Release]2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.<a href="https://www.facebook.com/@atravetosus/" rel="nofollow noopener" target="_blank">Atra Vetosus</a> // Undying Splendour [December 20, 2024 – <a href="https://www.immortalfrostproductions.com/" rel="nofollow noopener" target="_blank">Immortal Frost Productions</a>]Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of <a href="https://www.angrymetalguy.com/mare-cognitum-solar-paroxysm-review/" rel="nofollow noopener" target="_blank">Mare Cognitum</a>. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of <a href="https://www.angrymetalguy.com/wolves-in-the-throne-room-primordial-arcana-review/" rel="nofollow noopener" target="_blank">Wolves in the Throne Room</a> (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section<a href="https://www.angrymetalguy.com/stuck-in-the-filter-november-and-december-2024s-angry-misses/#fn-209724-4" rel="nofollow noopener" target="_blank">4</a>. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed. Dolphin Whisperer’s Late-Blooming Bustles <a href="https://www.facebook.com/alarumofficial" rel="nofollow noopener" target="_blank">Alarum</a> // Recontinue [November 8th, 2024 – Self Release]So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily <a href="https://www.angrymetalguy.com/yer-metal-is-olde-cynic-focus/" rel="nofollow noopener" target="_blank">Cynic</a>-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.<a href="https://www.instagram.com/gorging_shade" rel="nofollow noopener" target="_blank">Gorging Shade</a> // Inversions [November 11th, 2024 – Self Release]With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of <a href="https://www.angrymetalguy.com/retro-spective-review-emperor-nightside-eclipse/" rel="nofollow noopener" target="_blank">Emperor</a>, and the melancholy triumph of <a href="https://www.angrymetalguy.com/ulcerate-cutting-the-throat-of-god-review/" rel="nofollow noopener" target="_blank">Ulcerate</a> swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. 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