{"id":193610,"date":"2025-12-15T22:05:14","date_gmt":"2025-12-15T22:05:14","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/193610\/"},"modified":"2025-12-15T22:05:14","modified_gmt":"2025-12-15T22:05:14","slug":"stuck-in-the-filter-october-2025s-angry-misses","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/193610\/","title":{"rendered":"Stuck in the Filter: October 2025’s Angry Misses"},"content":{"rendered":"

\"\"<\/p>\n

They say it\u2019s going to be a harsh winter this year. They always say that, and it\u2019s almost never true, at least not from where I\u2019ve set up camp. However, no matter the weather I am a harsh taskmaster, doling out grueling hours, no pay or benefits, and probably the worst coffee on the planet to my dutiful minions. It takes a special kind of person, motivated by pure unadulterated greed to ravenously scour the filter for dusty, almost-forgotten gems like they do.<\/p>\n

But we are thankful for them for being exactly that! And we also benefit, in the form of quality(ish) chunks of glimmery, shimmery metal. BEHOLD!<\/p>\n

Kenstrosity\u2019s Riffy Representation
\nXaoc<\/a> \/\/ Repulsive Summoning [October 31, 2025 \u2013 Edgewood Arsenal Records<\/a>]<\/p>\n

\"\"Xaoc\u2019s history is one of the more confusing I\u2019ve encountered in my time writing for this blog. After breaking up in 2008, a new lineup spawned in 2022 to record and release Proxime Mortis<\/a> from the ashes of songs written pre-breakup, supported by Edgewood Arsenal. At some point this year, two more members spawned in anticipation of this new slab Repulsive Summoning. But the band\u2019s labeled as Split Up already on Metallum? I don\u2019t understand what\u2019s going on there, but at least I can say that Repulsive Summoning is a turbo banger! These riffs are bonkers, full of verve and swagger, brimming with groove and muscularity. A happy mix of Vomitory<\/a> and Dormant Ordeal<\/a>, this Virginian outfit know how to throw down. Highlights like \u201cAve Solva Coagula,\u201d \u201cAntima Samskara,\u201d \u201cThe Great Perfected Ones,\u201d and the entire \u201cDegenerate Era\u201d three-part suite reduce my body into a fine slurry by the grinding, vicious power of their riffs alone. But the rabid growls, ballistic percussion, and meaty guitar tones contain more than enough fuel to propel those riffs across this tight and thunderous 35-minute runtime. It\u2019s a simple record, built to beat me down and leave me broken and bloodied, but it\u2019s also an effortlessly memorable affair that leaves me wanting more despite the mounting medical bills. Don\u2019t sleep on Xaoc!<\/p>\n

\ufeffRepulsive Summoning by Xaoc<\/a><\/p>\n

Andy-War-Hall\u2019s Succulent Surplus
\nCanvas of Silence<\/a> \/\/ As the World Tree Fell [October 31st, 2025 \u2013 Rockshots Records<\/a>]<\/p>\n

\"\"Finnish symphonic metallers Canvas of Silence describe themselves as \u201cprog-influenced chorus metal,\u201d and that description goes far in outlining their debut As the World Tree Fell. Their core sound resembles a progged-out Nightwish <\/a>moonlighting as a melodeath band, committing ludicrous bombast on symphonic-heavy cuts like \u201cThe Great Unknown\u201d and \u201cWayfarer\u201d amidst a sharp Gothenburg riff attack in \u201cWatching the World Tree Fall\u201d and \u201cDrown.\u201d Canvas of Silence mete out a balanced approach of light and dark sounds between Theocracy<\/a>esque prog-power (\u201cOne With the Wind,\u201d \u201cHumanimal\u201d) and Madder Mortem<\/a>-like gothic twists (\u201cDrown,\u201d \u201cAnthem for Ashes\u201d), all reined in by the commanding vocal presence of singer Loimu Satakieli. Sitting somewhere between Anette Olzon (ex-Nightwish, The Dark Element) and Agnete Kierkevaag (Madder Mortem), her impassioned and heavily-layered singing turns As the World Tree Fell into a sm\u00f6rg\u00e5sbord of lush, catchy and anthemic tunes of an uplifting, sing-along nature. Optimism permeates As the World Tree Fell, felt at a fever pitch on the enormous choral bridge of \u201cHumanimal\u201d and the folky power metal jaunt of \u201cOne With the Wind.\u201d Even on lyrically dark\/mournful passages like \u201cWayfarer\u201d and \u201cGarden of the Fallen,\u201d Canvas of Silence deliver soaring, hopeful crescendos that at times reach Fellowship <\/a>levels of good cheer. Canvas of Silence can craft sincerely beautiful moments, and though As the World Tree Fell\u2019s production can be sterile and overly loud I am nothing but excited to see what these Finns can cook up next.<\/p>\n

As the World Tree Fell by Canvas of Silence<\/a><\/p>\n

Spicie Forrest\u2019s Punky Proferrings
\nViolent Testimony<\/a> \/\/ Aggravate [October 17th, 2025 \u2013 Horror Pain Gore Death Productions<\/a>]<\/p>\n

\"\"Do you wish there was more grind in your life? Well, Cheyenne, Wyoming\u2019s Violent Testimony just assumed you would. Combining the punky flair of Napalm Death<\/a> with the lead foot ethos of early Pig Destroyer<\/a> and Cattle Decapitation<\/a>, debut LP Aggravate is 26 minutes of delicious grindy goodness. From the opening salvo of \u201cGod Complex Massacre\u201d to the final detonations of \u201cHit N\u2019 Run,\u201d Violent Testimony shows absolutely no restraint. D.N.\u2019s Gatling drums mow down everything in their path while T.W.\u2019s serpentine bass clears the chaff and flattens any obstruction. Shrapnel propelled by N.Y.\u2019s brutish, breakneck riffing can be seen burying itself in concrete walls, still quivering (\u201cRider in the Night,\u201d \u201cPsychotic Episode\u201d). Caustic growls and vitriolic screams tear from T.W.\u2019s throat at mach fuck (\u201cFlashbang Celebration,\u201d \u201cObligatory Manifestation of Infinite Grind\u201d). With only two tracks exceeding the two-minute mark, Violent Testimony screams their piece with as much sound and fury as possible before moving on and picking their next bone with the system. This keeps Aggravate a lean, densely-packed offering. If you need to get pissed off right now and even the fastest death metal is too slow, Violent Testimony is all too happy to decimate the opposition with you.<\/p>\n

Aggravate by VIOLENT TESTIMONY<\/a><\/p>\n

Uaar<\/a> \/\/ Galger og Brann [October 17th, 2025 \u2013 Fysisk Format Records<\/a>]<\/p>\n

\"\"Hailing from Oslo, Norway, crust outfit Uaar celebrates their tenth birthday by releasing their debut LP. Galger og Brann, which means \u201cGallows and Fire\u201d in Norwegian, expands on the foundations laid by established acts like Skitsystem and Tragedy. With one foot firmly planted in black metal and the other in hardcore, Uaar unleashes a cacophony of rage unfettered. D-beats abound, courtesy of Truls Friesl Berg, creating a frantic, enraged atmosphere. Dag Schaug Carlsen\u2019s blackened rasps are so cold they burn, matching the evil pall hanging over tracks like \u201cGale\u00e5s\u201d and \u201cDen siste.\u201d Post-flecked, Ancst<\/a>y tendencies (\u201cAlt Skal Brenne,\u201d \u201cOveralt\u201d) peek through the feral hardcore riffage (\u201cH\u00e5pet forsvinner\u201d) of guitarists Erik Berg Friesl and Jon Schaug Carlsen, while bassist Stian S. Evensen provides the muscle to convince you these guys aren\u2019t screwing around. Uaar is well-versed in their base genres, alternating between and mixing black metal and hardcore effortlessly. The occasional blues-tinged heavy metal lead\u2014as in \u201cOveralt\u201d and \u201cDolken\u201d\u2014keep Galger og Brann from being a one-note affair. With a dearth of standout blackened hardcore releases this year, Uaar\u2019s Galger og Brann is a welcome\u2014if late\u2014addition to the list.<\/p>\n

Galger og Brann by Uaar<\/a><\/p>\n

Scorching Tomb<\/a> \/\/ Ossuary [October 24th, 2025 \u2013 Time to Kill Records<\/a>]<\/p>\n

\"\"I\u2019ll be honest, I\u2019ve never considered Montreal, Canada, to be prime death metal territory. Luckily, Scorching Tomb doesn\u2019t care what I think. Debut LP Ossuary is an aural violation born of Tren-induced hardcore aggression and filthy old school death metal. With a guitar tone (Philippe Lelbanc) like sandpaper and a bass like swallowing gravel (Miguel Lepage), Scorching Tomb plays in the same cesspools as Bloodgutter<\/a> and Rotpit<\/a>. We normally associate melted faces with guitar solos, but that honor belongs to whatever corrosive noises issue forth from vocalist Vincent Patrick Lajeunesse\u2019s guts. Drummer \u00c9mile Savard loves a blast beat, often detonating them in short bursts to support an already bone-breaking assault (\u201cFeel the Blade\u201d). \u201cStalagmite Impalement\u201d and \u201cSanctum of Bones (Ossuary)\u201d are particularly savage, with tetanus-inflicting riffs and bloodthirsty screams threatening to drag you into the crypt to be used for meal prep. On \u201cSkullcrush,\u201d Sanguisugabogg<\/a>\u2019s Devin Swank perfectly matches Scorching Tomb\u2019s vile depravity, cementing them as a promising new act in the scene. Ossuary is raging, muscle-bound, caveman death metal drowned in a vat of viscera and sewage, and it tastes incredible.<\/p>\n

Ossuary by Scorching Tomb<\/a><\/p>\n

ClarkKent\u2019s Gratifying Goodies
\nSutratma<\/a> \/\/ Adrift [October 3rd, 2025 \u2013 Self-Release]<\/p>\n

\"\"While I didn\u2019t purposely seek out more doom during my self-imposed month of picking only doom promos, Sutratma\u2019s fifth full-length, Adrift, ranks as one of the better doom albums I listened to in November. This California four-piece has been writing funeral doom for 15 years, and it shows in their ability to craft effective melancholic slow-burns that strike a balance between melody and crushingly heavy. Adrift impresses straight out the gate with the piano-drenched \u201cWind and Sea.\u201d This song nicely melds the sorrowful softness of the piano with punishing guitar riffs and impressive growls. Just like stalwarts My Dying Bride, Sutratma mixes growls with cleans, and Daniel Larios\u2019s cleans effectively hit you right in the feels while the growls take on a more despairing note. There\u2019s plenty of variety from song to song, with organs stealing the show on \u201cGuiding Star\u201d and a lovely melody on \u201cThe Great Bereaver\u201d that builds up to a moving finale. Just like with Oromet<\/a>, there\u2019s a serenity to the music that is calming, and the skilled songwriting and musicianship lends a poignancy to it all. With the frenzy of list season upon us, it\u2019s nice to have something like this to remind us that it\u2019s okay to just slow down\u2014even when an angry ape is berating you for more content.
Adrift by Sutratma<\/a><\/p>\n

Starer<\/a> \/\/ Ancient Monuments and Modern Sadness [October 10th, 2025 \u2013 Fiadh Productions<\/a>]<\/p>\n

\"\"Josh Hines, the one man behind black metal project, Starer, has been very busy. Since forming Starer in 2020, he has released four EPs and now, with the release of Ancient Monuments and Modern Sadness, four LPs. I first became acquainted with this band on 2023\u2019s Wind, Breeze, or Breath and was taken in by Hines\u2019s aggressively atmospheric take on black metal. Ancient Monuments and Modern Sadness hits the ground running on \u201cI Cry Your Mother\u2019s Blood\u201d with some aggressively catchy melodies. The aggression continues on \u201cIl-Kantilena\u201d with its icy riffs and pumping blast beats. Meanwhile, \u201cThe Field of Reeds\u201d combines the black n\u2019 roll of Fell Omen<\/a> with the fuzzy reverb of atmoblack for a rollicking good time. Hines screams into the void as subdued symphonics add layers of melody, providing a surprising amount of depth to each song. Because of the frenetic pace, the 50-minute runtime flies right by, even as songs like \u201cSong of the Harper\u201d do their best to vary the tempo. For black metal, the production is lush and gorgeous, giving air to all instruments. The epic, ten-minute finale is the culmination of Hines\u2019s ability to put together complex and compelling music that both excites by its aggression and dazzles with its atmospherics. Black metal fans should not miss this one.
Ancient Monuments and Modern Sadness by Starer<\/a><\/p>\n

Grin Reaper\u2019s Haunted Harvest
\nBlack Cross Hotel<\/a> \/\/ Songs for Switches [October 31st, 2025 \u2013 Someoddpilot Records]<\/p>\n

\"\"Three years after dropping their favorably reviewed debut Hex<\/a>, keys-drenched and industrialized outfit Black Cross Hotel returns bearing Songs for Switches. 80s-inspired synths, mid-paced chugs, and dance-ready grooves pack neatly into forty-one minutes of grubby fun, sure to interest fans of Ministry<\/a> and Killing Joke<\/a>, or anyone with a predilection for leather. Where Hex boasted a wider assortment of tempos, Songs for Switches narrows its focus to mid-paced songs with a keener emphasis on keyboard melodies. Averting a direction that could have been limiting, Black Cross Hotel smartly sidesteps this by shaving down song lengths and arranging the tracks for optimal pacing. Individual moments across the album evoke Me and That Man<\/a> (\u201cEyes from Nowhere\u201d), Soulfly<\/a> (\u201cBlood Dance\u201d), and Joy Division (\u201cTypo\u201d), casting an eclectic array of sounds into Mount Gloom to forge ten dangerously fun tracks. Though I liked the album at first listen, it took multiple spins for Songs for Switches\u2019 distilled aesthetic to fully unfurl, and once it did, my appreciation redoubled. With a sinister atmosphere designed as much for pain as pleasure, Black Cross Hotel has readied your room for a night you won\u2019t forget.<\/p>\n

Songs For Switches by \u0299\u029f\u1d00\u1d04\u1d0b \u1d04\u0280\u1d0fss \u029c\u1d0f\u1d1b\u1d07\u029f<\/a><\/p>\n

Miasmata<\/a> \/\/ Subterrania [October 31st, 2025 \u2013 Naturmacht Productions]<\/p>\n

\"\"Still hawking their distinctive blend of meloblack and heavy metal, Miasmata dropped sophomore platter Subterrania on what was one of the most congested release days of 2025. In addition to the recurring influences of Windir (\u201cDie at the Right Time\u201d) and Iron Maiden<\/a> (the intro to \u201cSubterrania\u201d smacks of The X Factor), Subterrania adds a dollop of thrash into the mix. Opener \u201cThose Who Cross the Flame\u201d struts out with a punky riff that wouldn\u2019t be out of place on an Anthrax<\/a> record, while \u201cFull of the Devil\u201d tastes as much like Testament<\/a> or Havok<\/a> as Diamond Head<\/a>. The beauty of Miasmata, both on debut Unlight: Songs of Earth and Atrophy<\/a> and Subterrania, is one-man mastermind Mike Wilson\u2019s aptitude to synthesize a mighty host of influences into a unique sonic palette all his own. As Sharky noted in Unlight\u2019s review, Miasmata has a knack for remarkable restraint. Subterrania clocks under forty minutes, layering slithery riffs upon one another in a way that propels the music in constant motion, shifting and unfolding so organically that the album slips by before you realize it\u2019s over (an especially impressive feat considering the self-titled closer\u2019s near fourteen-minute runtime). If you missed Miasmata\u2019s latest on release day, go rectify that. Don\u2019t let Subterrania get lost to the underground.<\/p>\n

Subterrania by Miasmata<\/a><\/p>\n

Dolphin Whisperer\u2019s Autumnal Anomoly
\n\u5922\u904a\u75c5\u8005 \/\/ \u0420\u041b\u041130011922<\/a> [October 28th, 2025 \u2013 Self Release]<\/p>\n

\"\"As if plucked into lucidity from amidst a hazy, proggy machination, \u0420\u041b\u041130011922 steps into its narrative\u2014an exploration of a beloved figure in its creator\u2019s life, including sound clips describing the trials through which she persisted\u2014with an entrancing stumble. Through an understated math rock lens, tight kit rhythms with a tension-building hi-hat clashes strut against a loud and leading bass voice across 37 minutes of fluid guitar textures. Whether it\u2019s the chunky fusion reminiscent of Hackett-era Gordian Knot, the playful rhythmic post-rock that evokes a band like toe, or the fuzzed-out punctuation that tell a prog tale as \u201970s King Crimson<\/a> would, \u5922\u904a\u75c5\u8005, also known as Sleepwalker, makes their love of sound as clear as their love of \u0420\u041b\u041130011922\u2019s inspiration. In a setting this free and detailed, not a single moment of this one-long-song opus passes by without taking a moment to focus on a given performer\u2019s escalation in the drama of the movement. Wielding short guitar solos as segues into popping double-kick trots, spoken word exposition as pedal switch-up opportunities, all leading to a crescendo of bent and bluesy expression, \u5922\u904a\u75c5\u8005 succeeds in more than just holding an audience captive with their jammy and heartfelt statement. \u0420\u041b\u041130011922, like the shorter form<\/a> releases<\/a> that have graced these halls before, will have you coming back time and time again to explore its sentiments, which feel both traced from a dream yet rooted in rich, earthly tone pleasures.<\/p>\n

\ufeff\u0420\u041b\u041130011922 by \u5922\u904a\u75c5\u8005<\/a><\/p>\n

Saunders\u2019 Slinky Sneaks
\nEnragement<\/a> \/\/ Extinguish All Existence [October 31st, 2025 \u2013 Transcending Obscurity<\/a>]<\/p>\n

\"\"The back end of 2025 has thrown down some delightfully vicious, chunkified, and straightforward death metal gems, courtesy of the likes of Depravity<\/a>, Glorious Depravity<\/a> and Terror Corpse<\/a>. Not to be discounted, Finland\u2019s Enragement dropped their own intense slab of brutal death on fourth LP, Extinguish All Existence. Cutting with any pleasantries, Enragement get down to business, slamming through a tight, burly collection of Americanized death, keenly treading a balance between thuggish beatdowns, chest-busting blasts, slammy, pig-squealing grooves, and more traditional, though deceptively diverse brutal death fare. Despite the certifiably crushing formula deployed, there is an air of accessibility, perhaps attributed to the clean but suitably beefy production job, bludgeoning, addictive grooves and sinister currents of atmospheric melody flowing through the album\u2019s riff-centric veins. Thrashy, straightforward bursts of fury are tempered by more technical flourishes and an impressively versatile vocal assault. The likes of Devourment<\/a>, Deeds of Flesh, Dawn of Demise<\/a> and Benighted<\/a> are perhaps fitting reference points, however, Enragement blast their own path of uncompromisingly heavy destruction.<\/p>\n

Extinguish All Existence by ENRAGEMENT<\/a><\/p>\n

Stephen Brodsky<\/a> \/\/ Cut to the Core Vol. 1 [October 3rd, 2025 \u2013 Pax Aeturnum<\/a>]<\/p>\n

\"\"There are a couple of ways to broach this latest solo endeavor from lovable rogue and Cave In<\/a>\/Mutoid Man<\/a> mastermind Stephen Brodsky. Brodsky delivers refreshed interpretations of various \u201990s hardcore songs, reimagined in acoustic form. Those familiar with the original compositions will likely have fun dissecting and comparing the original anthems. While others, such as myself, largely unfamiliar with the originals, can enjoy these polished takes in their reimagined form, without comparison. Over the years, I have developed a strong connection with Brodsky\u2019s works and come to appreciate his softer, acoustic flavorings. The likes of Snapcase, Converge<\/a>, Texas is the Reason, Threadbare<\/a> and By the Grace of God are some of the acts covered with typical style, zest, and emotion. Brodsky\u2019s expressive and emotive delivery showcases both a loving appreciation of the material and deeper emotional connection that bleeds through the often darker, melancholic vibes of the acoustic constructions. The collection is remarkably consistent and infectious, highlighted by Brodsky\u2019s crisp and soulful acoustic playing and distinctive singing voice on standout cuts, including \u201cWindows\u201d (Snapcase), \u201cBenchwarmer\u201d (Lincoln), \u201cFissures\u201d (By the Grace of God), \u201cFarewell Note to This City\u201d (Converge), and \u201cVoice\u201d (Sense Field).<\/p>\n

\ufeffCut To The Core Vol. 1 by Stephen Brodsky<\/a><\/p>\n

Soul Blind<\/a> \/\/ Red Sky Mourning [October 10th, 2025 \u2013 Closed Casket Activities<\/a>]<\/p>\n

\"\"Riding a familiar wave of early \u201900s alt-rock\/metal and \u201990s grungy nostalgia, New York\u2019s Soul Blind emerge with sophomore LP, Red Sky Mourning. Although they tread dangerously close to overt derivation of prominent influences, including Alice in Chains<\/a>, Deftones, and Helmet, Soul Blind manage to just stay afloat on their own terms. The dreamy melodies, chunky alt metal riffs, and soaring, Cantrell-esque vocal melodies cultivate some earwormy hooks and fuzzy, 90s\/\u201900s feels. Soul Blind possess a knack for writing textured, mildly sludgy, infectious rock ditties, dabbling in shoegazing atmospherics, and sturdier alt metal territories along the way. Soul Blind relish in AIC inspired earworms (\u201cDyno,\u201d \u201cHide Your Evil\u201d), grittier, more aggressive alt metal fare (\u2018Billy,\u2019 \u201cNew York Smoke\u201d) and airy, indie pop-rock (\u201cThru the Haze\u201d). Soul Blind have work to do to stand out from their influences and develop a more unique sound and robust character. However, the signs are positive for better things to come. Red Sky Mourning is a solid throwback album and handy companion piece to the equally nostalgia-inspired album from Bleed<\/a> earlier in the year.<\/p>\n

Red Sky Mourning by SOUL BLIND<\/a><\/p>\n

\n\tGive in to Your Anger:\n<\/p>\n