MetalMatters: The Best Metal Albums of April 2025

In April’s best metal, Ancient Death tread into otherworldly death metal, Behölder stand firm on heavy ground, and Messa look beyond the doom confinements.

It is always nice to see how varied the trends within a genre can be. Take death metal, for instance, where Ancient Death and Diabolizer represent two vastly different strands. The former are informed by Timeghoul’s off-kilter progressive visions, which Blood Incantation brought back to prominence with their early works. The latter find purpose in the brutal death metal scene, as it was baptized in the early 1990s. And then you of course get further variations, be it through Caustic Wound’s death/grind, Felgrave’s progressive-minded death/doom, Chestcrush’s blackened flirtations with sludge, and Dormant Ordeal’s black/death channel their home country black/death heritage..

On the other side, it is also great to see some alignments. On the symphonic black metal front, Belnejoum and Ancient Mastery both bring dramatic fervour to their storytelling. At the same time, Moonfall and Serpentes present two diverging paths of black metal philosophies. Here, the Finns dig into their country’s tradition and the Barathrum dedication to doom, while the international collaboration stands on the orthodox and dissonant path.

Of the strange and out-there, make sure not to miss the new Iron Lung record for some exquisite powerviolence. However, if you are after something less abrasive, check out Amplifier’s psychedelic immersion with Gargantuan. That and much more, so dig in! – Spyros Stasis

Amplifier – Gargantuan (Rockosmos)

Gargantuan by Amplifier

The latest record from Mancunian rock mavericks Amplifier finds them in an overtly cosmic mood. This eighth studio album features the core duo of Sel Balamir and Matt Brobin, who create a narcotic brew of space rock, purple psychedelia, heavy prog atmospheres, and expansive synthesizer effects—the music’s tendrils reaching out toward the farthest corners of the galaxy and beyond.

On “Gateway”, they drift gently along interplanetary currents, harmonizing sinuous guitar leads with intricate rock figures to create a dense sound that brings to mind Devin Townsend’s painstaking detail in composition. Then, a wave of probing arpeggios ushers in “Invader”, only to unfurl into a melody whose beauty is indebted to its simplicity and that wouldn’t feel out of place on a Porcupine Tree album.

Elsewhere, “King Kong” and “Pyramid” double down on doom heaviness, and “Cross Dissolve” shifts the mood, diffusing tension into a serene, ballad-like flow that feels as calm and calming as the end of the universe. Here and elsewhere, Robin and Balamir’s pop sensibilities are crucial in balancing their harder, more intense progressive rock tendencies while maintaining a stunning sense of scope and grandeur. Gargantuan, indeed. – Antonio Poscic

Ancient Death – Ego Dissolution (Profound Lore)

Ego Dissolution by ANCIENT DEATH

Ancient Death’s 2022 Sacred Vessel EP deals in the same otherworldly death metal that produced an Interdimensional Extinction or The Moulting. Honing their sound through the early days of such contemporaries, and without forgetting the importance of Demilich and Timeghoul, Ancient Death continue the excavation process.

The latest retrieved relic is their debut record, Ego Dissolution, a work that finds them further maturing their technical death metal pedigree. From a high-level view, they have moved into the Spiritual Healing and Human era, as detailed in the proto-death structures of “Breaking the Barriers of Hope”, the immersive instrumental “Journey to the Inner Soul”, and mostly the cosmic quality of “Violet Light Decays”.

It is natural to expect the psychedelic tinges, and Ancient Death deliver in form, channeling Bedsore’s excellent debut, Hypnagogic Hallucinations. The hazy dream ebbs and flows in “Breathe – Transcend (Into the Glowing Streams of Forever)” but is not presented in a continuum. The sudden switches between reality and illusion are tested through the brutal start of “Echoing Chambers of the Dismal Mind”, and there is an abundance of Bolt Thrower-informed melody in “Ego Dissolution”.

In all, Ancient Death’s debut is an excellent work of modern-day death metal, deeply in tune with the motifs of the era. The established names have chosen their respective courses. Blood Incantation travel into psychedelic and progressive rock, Tomb Mold stand on tradition, and Bedsore conjure the Goblin spirit. It remains to be seen what path Ancient Death choose, but given this first specimen, I am sure they will find the right one. – Spyros Stasis

Ancient Mastery – Chapter Three: The Forgotten Realm of Xul’Gothar (Independent)

Chapter Three: The Forgotten Realm of Xul'Gothar by Ancient Mastery

Vienna-based Erech Lelet is a musician of many talents and just as many excellent bands, such as Narzissus and Sturmwächter, but Ancient Mastery remains his most well-rounded and purposeful project. Here, Lelet weaves strains of evocative dungeon synth and gripping melodic black metal around stories from the fantastical land of Valdura, the music serving both as an accompaniment and an integral part of the lived-in feeling of his imagined world.

While Chapter Three: The Forgotten Realm of Xul’Gothar veers somewhat closer to traditional second-wave black metal, it retains the sense of mystery and wide-eyed wonder that made its predecessors so appealing, with slivers of dungeon synth atmospheres pouring through the cracks of walls of roaring black metal. In “The Treacherous Order”, this combination of styles and moods results in an Alcest-esque swirl of ethereal blackgaze, only for “The Dread of Xul’Gothar” to bite back with haunting synthetic melodies enmeshed with raw black metal.

This is transporting, world-building music whose experience mirrors that of immersing oneself into an excellent fantasy novel. – Antonio Poscic

Behölder – In the Temple of the Tyrant (Black Lion)

In the Temple of the Tyrant by Behölder

Although they have been around since 2021, the debut album by Philadelphia’s Behölder is still a bit of a surprise due to how well-written and expertly played it is. Featuring the commanding vocals of Judicator’s John Yelland, the quintet deliver a tasteful and tasty blend of epic doom and power metal. To triangulate the style of In The Temple Of The Tyrant, one could place it somewhere between traditional doom metal, à la Candlemass, Sorcerer, and Crypt Sermon, and the thrash-inflected pockets of US power metal played by Jag Panzer and Nevermore, with some special spices of their own thrown in for good measure.

In “Eyes of the Deep”, Amorphis’s Tomi Joutsen conjures subterranean growls, transforming the power-doom dirge into a potent slab of crawling death metal. “Those Who Fell” sees Behölder reach into yet another direction, fusing 1970s hard rock and psychedelic folk into a grumbling ballad. At the same time, “Draconian (Slave or Master)” adds a bit of Middle-Eastern (think Nile) influences to the mix. A stunning debut and contender for doom metal album of the year. – Antonio Poscic

Belnejoum – Dark Tales of Zarathustra (Antiq)

Dark Tales of Zarathustra by Belnejoum

Mohamed Baligh takes his craft seriously. Delving into symphonic black metal, with his band Belnejoum, is a high task, and for this reason, Baligh has surrounded himself with an impressive array of musicians. George Kollias (Nile), Francesco Ferrini and Fabio Bartoletti (both of Fleshgod Apocalypse), and Rich Gray (Annihilator) are just some of the names that aid Baligh to bring together his vision in Belnejoum’s debut, Dark Tales of Zarathustra. A fitting subject, Balight weaves the story of Zarathustra’s downfall in complete operatic fashion. The plunge is immediate as the piano and the distant howls unite to tighten the mystique, before all hell breaks loose.

The black metal edge comes through fast, as the opening track awakens the genre’s epic, grand side. It acts as an anchor for the work, with Belnejoum returning when needed, as with the piercing “In Their Darkest Aquarium” or the absolute peak that is “Upon the Mortal Blight”. Still, Baligh wonders further outside of the metallic and straight into the near-purely symphonic. The classical instrumentation aids here in putting together a scenery of war and loss, unearthing the tragic circumstances of moments like “On Aeshma’s Wings”.

The emotions are powerful, anger and sorrow merging in “The Day Zarathustra Turned Dark”, and the shorter interludes harness the classical tradition in the likes of “Elegie”. Folk influences appear, piercing through the heavy veil in “The Dark Tower”, providing an additional twist. It is solid work, and it seems like Baligh has spent the time putting it all together. Still, it does not reach the heights of the pinnacles of the sub-genre, but there is promise to be found here. – Spyros Stasis

Caustic Wound – Grinding Mechanism of Torment (Profound Lore)

Grinding Mechanism Of Torment by CAUSTIC WOUND

Caustic Wound keep things simple with their sophomore record, Grinding Mechanism of Torment. Here, the five death metal and grindcore veterans further expose their debut’s brutality and unhinged essence. Taking a cue from the scene’s founders, they deliver a full-blown punishment in various forms. Their heavy groove approach is monstrous, the huge guitars devouring the space in their distorted majesty.

The beatdowns of “Blood Battery” and “Endless Grave” are simply delicious and evoke many of the original death metal fixations. This cacophonous plague of leads that plunges into dissonance through schizoid applications is pivotal in “Human Shield” and “Horrible Earth Death.”

On the other hand, there is the grindcore chaos and Caustic Wound dazzle with their no-bullshit approach. The breaks in “Blackout” are just insane, the methodology completely erratic, waging a war against all, and the ridiculous “Dead Dog” relishing a punk-ish origin. However, the surprise comes with closer “Into Cold Deaf Universe”, where the start plunges into the death/doom darkness (I shit you not).

From there on it is an overture, with the Mortiferum-inspired feedback conjuration giving way to the old-school death metal stampede that will eventually melt into the faster-than-light grindcore assault. If you are looking for something brutal and unhinged, Grinding Mechanism of Torment is for you. – Spyros Stasis

Chestcrush – ΨΥΧΟΒΓΑΛΤΗΣ (Independent)

ΨΥΧΟΒΓΑΛΤΗΣ by CHESTCRUSH

Here is a group that fully and truly live up to their name. The Edinburgh, Scotland outfit Chestcrush deal in a blackened death metal sound tinged with grindcore elements whose suffocating, tectonic pressure rivals Skáphe’s initial run of LPs. Take “Underneath This Rotten Soil Bodies Are Still Bleeding”, for example. It opens with a massive death-doom trudge, like mammoths moving through tar, only to then tighten the grip around your neck as the infernal maelstrom of riffs, blast beats, and growls speeds up while revolving in place.

Throughout, ΨΥΧΟΒΓΑΛΤΗΣ (meaning ”soul taker” in Greek) is relentless in maintaining this elevated tension, almost sadistic in how punishing it is to the listeners. “Your Screams Will Echo Long After Your Death” might represent its swirling, all-hell-breaks-loose zenith of insanity, but there is no superfluous moment in any of the other tracks. Drummer Robin Stone (of Ashen Horde and others), guitarist/bassist Evangelos Vasilakos (check out his excellent solo project Caustic Phlegm!), and vocalist Topias Jokipii have created a monster. Long may it live. – Antonio Poscic

Diabolizer – Murderous Revelations (Dark Descent/Me Saco Un Ojo)

Murderous Revelations by Diabolizer

When it comes to nasty, primal death metal, collaborations between the labels Dark Descent and Me Saco Un Ojo consistently deliver quality. The second full-length by Istanbul’s Diabolizer is no exception. Featuring members from death metal powerhouses like Hyperdontia, Burial Invocation, and Engulfed, the fundamental sound of Murderous Revelations draws deeper from the genre’s history than those related groups, evoking the brutal grooves of Cannibal Corpse and the gritty technicality of Suffocation.

However, these old-school influences are skillfully combined with modern production techniques and the laser-sharp focus characteristic of (relatively) younger bands like Vader, Vital Remains, and Hate Eternal. As a result, the tracks switch gears continuously, as if pulled in two directions at once, shifting between total destruction with a hint of hardcore turmoil in songs like “Into the Depths of Diseased Minds” and breezier, more melodic flows on “Into the Jaws of Cerberus”. Crucially, the record remains thrilling in both modes of attack. – Antonio Poscic

Dormant Ordeal – Tooth and Nail (Willowtip)

Tooth and Nail by Dormant Ordeal

A torrent of riffs growls, swirls, and swells. Beneath this serrated surface, the repeating, circular dance of black metal bursts makes incandescent textures flow over tremolo-picked melodies. Blast beats bubble up and vanish as the kick drum’s relentless rhythm is accentuated by a screaming guitar lead. Then, it all explodes. As if through a stroke of alchemy, in a flash, the pent-up energy erupts into brutal death metal—dense and frenzied expressions of the most extreme sonic intensity. This moment on “Halo of Bones”, the second cut from Tooth and Nail by Dormant Ordeal, perfectly encapsulates what the Polish death metallers are all about.

While this level of fervor is not quite replicated in the following seven tracks, Dormant Ordeal’s fourth LP is replete with inspired moments. Post-metal ruminations like “Solvent” lead into furious and merciless stretches of death metal reminiscent of their compatriots Vader and Behemoth. The suffocating, oppressive atmosphere of “Against the Dying of the Light” morphs into the alternately slamming and agile “Everything That Isn’t Silence Is Trivial”.

Throughout, the music feels like being trapped in a whirlwind, crushing your bones and dragging you deeper and deeper into some unknown hell. While this new direction means that Dormant Ordeal had to cede some of their technical mastery, the trade-off was more than worth it. – Antonio Poscic

Felgrave – Otherlike Darknesses (Transcending Obscurity)

Otherlike Darknesses by FELGRAVE

Fellgrave’s sophomore record, Otherlike Darknesses, signals a change for M.L. Jupe’s project. Looking back at his 2020 debut, A Waning Light, it was easy to detect the Ruins of Beverast’s inspiration in his doom/death approach. Slow, ceremonial, and deeply atmospheric, the record was very well structured and carried a dark, emotive quality. Now, this shifts from the forest scenery to the grandeur of the cosmos.

Otherlike Darknesses starts in the expected doom/death fashion, with the expected ambiance rising in “Winds Batter My Keep”. The clean interludes and the quasi-psychedelic components signal to the past, but the earlier mystique is not the focus point here.

A pronounced progressive viewpoint guides Jupe on this occasion. The maniacal start to “Pale Flowers Under an Empty Sky” reveals as such, with the blackened edge complementing the technical death metal perspective. It becomes more noticeable as the record unfolds, as the work rushes through constantly transforming labyrinthine passages. This is a modern take, aspects of the Ulcerate dominance in extreme metal also finding their way in Felgrave’s lead work. The pseudo-dissonant and melodic application works nicely within the fold, and Robin Stone’s (of Norse) detailed drumming further establishes this influence.

I find Otherlike Darknesses to be a solid release, but some of the earlier magic of A Waning Light has been sacrificed to achieve this. If in the future these two worlds can coalesce, then Felgrave would have reached their potential. – Spyros Stasis

Idle Heirs – Life Is Violence (Relapse)

Life is Violence by Idle Heirs

The project of Coalesce frontman Sean Ingram and producer Josh Barber, Idle Heirs turns back the clock to the post-metal days of the late 2000s and early 2010s with their debut record, Life Is Violence. The initial contact point is a bit unexpected as the duo drives into an alternative-minded sensibility through “Loose Tooth”. In these moments, they strive for the emotive, moving close to the sole Palms record (and naturally to some Deftones similarities).

In this mode, they feel at home, capable of producing these graphic melodies and an introverted approach (“Rare Bird”) that draws some inspiration from the Dillinger Escape Plan’s mid-era, in “Unretrofied” from Miss Machine or Ire Works‘s sentimental moments.

The post-metal weight ties in with the inherent emotion of Life Is Violence. The closer connection here is Cult of Luna, and their sense of magic and wonder. “Jaded Mountain” and “Dim Shepherd” carry much of this methodology, implementing the elusive clean melodies to transfer the listener to serene landscapes. The build-up is expected, and this is where Idle Heirs show their heavier self as sludge riffs come crushing down (second half of “Dim Shepherd”) and the chugging keeps the momentum (“Pillow Talk”).

Overall, Life Is Violence does not overcome the current limitations of post-metal and the resulting fatigue. However, it is still a solid work that pays homage to some of the genre’s best. – Spyros Stasis

Iron Lung – Adapting // Crawling (Iron Lung)

Adapting // Crawling (LUNGS-300) by IRON LUNG

Twelve years after the seminal White Glove Test, the powerviolence masters finally return with Adapting // Crawling. There are no surprises to be found here, as Iron Lung follow the path of Sexless // No Sex and White Glove Test. Raw and unyielding, the short bursts of havoc arrive in quick succession, a brute force approach highlighted by “Internal Monologue”.

From that ground, they can easily tap into the classic and old-school vibe, with the second half of “Everything is Void” and “Virus” embracing this awkward groove that moves maniacally through the space, knocking everything in its path. On the other hand, they also have access to more modern takes, a metallic post-hardcore approach that Iron Lung helped establish. The crazed start/stop motifs (“Shift Works”) or the delicious dissonant bends (“HeLa Cells”) showcase that leaning.

From there on, it is the usual flirtation with heavier grooves, shining in “Poisoned Sand” and carried with minor metallic touches in “Everything Is a Void”. It further evolves into a sludge-level decadence, the knuckle-dragging motif showing in “Hospital Tile” and “Cog II”. Never one to shy away from further experimentation, Iron Lung revisit their industrial motifs, spread throughout the record but collected in a singular form in “A Loving Act”.

Adapting // Crawling comes as advertised, and delivers through its manic energy and angst-ridden delivery. Would not have expected anything less from Iron Lung. – Spyros Stasis

Melvins – Thunderball (Ipecac)

Thunderball by Melvins

Why bother with multiverse thinking and parallel levels of existence when you can have different iterations of Melvins in the same reality? The Melvins 1983 form, whose constant appears to be King Buzzo and original drummer Mike Dillard, has appeared sporadically in the Melvins canon. Now they are joined by Ni Maîtres on upright bass and Void Manes behind the noise decks to produce Thunderball.

As “King of Rome” takes off, “Thunderball” makes perfect sense. It is a high-octane start, with the sharp riffs and direct progression keeping things simple. This mode can be seen as an early-days throwback, something they double down on with “Victory of the Pyramids” and its punk-ish start.

Soon enough, the noise tentacles grip the structures. Even in the standard form of “King of Rome”, they inject themselves, crafting artefacts from the Weird. While this electronic application is in the spotlight in “Vomit of Clarity”, its persistence for intrusion elevates Thunderball. The second part of “Short Hair With A Wig” is imbued with mystery from these blinking sonic objects, which have taken over from the ambient and abstracted earlier rock form.

It is within this repetitive motif that Melvins 1983 find their niche. The circular progression, the lazy riffing at times verging toward sludge, creates an uncomfortable experience. It can be an awkward progression (“Venus Blood”) or a slithering manifestation (“Victory of the Pyramids”), but this is all secondary. What matters is that Melvis 1983 deliver the goods. – Spyros Stasis

Messa – The Spin (Metal Blade)

The Spin by Messa

Italian doomsters Messa have always appeared unconcerned with the orthodox rules of the genre. They blend towering doom metal with influences taken from every corner of the music world, from blues and progressive rock to chamber pop. Their latest album—and the first on Metal Blade—further cements this approach.

While previous records toyed with tropes outside the metal idiom, The Spin turns the tables. Now, Messa’s songs take root in keyboard-driven post-punk of the Killing Joke sort (“Void Meridian”), 1980s balladry (“Immolation”), delta blues (“Reveal”), and synthpop (“Fire on the Roof”), then grow into monumental doom metal thrusts, with bass-drum grooves and scorching riffs bending under the compelling voice of Sara Bianchin. Within the new shape of their music, her mesmerizing delivery is put front and center.

Yet, regardless of this stylistic evolution, the band remain as instrumentally impressive as ever, transitioning between styles with seamless fluidity and elegance. Altogether, The Spin stands out as a milestone and a triumphant new direction for Messa. – Antonio Poscic

Mizmor & Hell – Alluvion (Gilead Media)

Alluvion by Mizmor & Hell

Part of the final releases from Gilead Media (come on, Adam, rethink this), and it feels like it has been a long time coming. The histories of A.L.N. (Mizmor) and M.S.W. (Hell) are intertwined, one appearing in the other’s record or performing live with them, but still, this is the first collaborative work (other than their 2014 split release) from these two minds.

Alluvion builds upon many of the foundations that run through Mizmor’s and Hell’s respective DNA. The point of convergence is the doom origin, with “Begging to Be Lost” starting by establishing a despairing nature, oozing through the melancholic melodies. They gravitate to this motif, finding its different façades fascinating, as they explore not only the downtrodden but also the epic and vast.

From there on, they stretch outwards, the closest connection being the sludge weight. The majestic presence fills the void in “Begging to Be Lost”, the humongous bass causing everything else to dissolve. The pacing further slows down for the next transformation, where the drone moments take over and fade into minimalism. “Vision II” features this application, the minimalism becoming excruciating as the rhythmic component nearly disappears.

The final touch is the black metal essence, which takes flight in the later parts of “Pandemonium Throat”, and its mechanics are applied to “Vision II”. It adds to the grand scheme, to the sadness and despair that runs through the core of Alluvion. This is not a release that breaks the mould for either Hell or Mizmor, but it serves as a reminder of who these artists are deep down. That alone makes it a fitting part of the Gilead Media farewell. – Spyros Stasis

Moonfall – Odes to the Ritual Hills (Iron Bonehead)

Moonfall – Odes to the Ritual Hills by Iron Bonehead Productions

Moonfall’s primal black/doom has captured me ever since I listened to their excellent split with Regere Sinister. Much like Regere Sinister, Moonfall hold a deep appreciation for Necromantia’s decadent and devilish recipe. However, from there on, they set out on their own course, something that is further explored in their debut record Odes to the Ritual Hills.

This is a minimalist record shy of the 35-minute mark. The bookends here (“1560” and “Thus Spoke Satanael”) are synth-based, and they bring to mind Mortiis’ early days, while staying away from the more grandiose nature of dungeon synth. Still, they provide an excellent imagery that leaks into the main course. Once “Countess Carody” comes in, the early Barathrum connection is established, as the slow, Celtic Frost-derived riffing combines with the guttural, out of the abyss vocal delivery.

This devastating approach further morphs into the title track, where the mechanized, ritualistic quality is contorted to awaken an early-days Samael, meaning Medieval Prophecy days, manifestation. Odes to the Ritual Hills is a solid release, which carries much of the genre’s raw, stripped-down essence, without forgetting its romanticism. – Spyros Stasis

Serpentes – Desert Psalms (NoEvDia)

Desert Psalms by Serpentes

A meeting of dark forces, Serpentes sees members of Angrenost, Misþyrming, and Svartþoka come together to produce their unearthly prayers in the form of Desert Psalms. The orthodox black metal scene is the reference point, and Serpentes are keen to extract its dissonant essence. To this end, they invoke the Deathspell Omega approach, as abstracted, contorted harmonies are unleashed on top of meticulous drumming. “I” and “IV” create a disorienting and abrasive essence. Similarly, this lead work can be further used for a darker and more sinister offering, bringing to mind Ved Buens Ende’s motifs in “V” and “VI”, in all their slithering fashion. Serpents indeed!

On the other hand, there is a fair bit of Angrenost’s melodic touch here. Similarly to the Portuguese act, Serpentes can find moments where more traditional metallic lead work can be incorporated into their black metal structure. “I” and “III” reveal as much with their solos and lead parts. However, the rocking tone of “II” and “VIII” further relishes this heavy metal aesthetic. Serpentes offer a solid work with Desert Psalms, and while it does not rise to the level of Angrenost or Misþyrming, it still proudly carries the same flame. – Spyros Stasis

Tribunal – In Penitence and Ruin (20 Buck Spin)

In Penitence and Ruin by Tribunal

For a brief moment in the mid-1990s, British death-doom metal outfits Anathema, My Dying Bride, and Paradise Lost embraced the dark romanticism of gothic rock to create music whose poignant pathos remains largely unmatched to this day. Sadly, they had only dabbled in this style briefly, combining growling riffs at death march tempos with haunting string and piano melodies before shifting towards other forms of metal and rock. While Draconian continued to carry this torch into the new millennium, the legacy of gothic death-doom would likely fade into obscurity were it not for the contributions of Vancouver, British Columbia’s Tribunal.

Pressing play on their sophomore full-length feels like stepping into a time capsule, transporting us back to the genre’s heyday. Throughout, patient, elongated cello bows and piano keys weave beautiful yet sorrowful melodies, led by Soren Mourne’s smooth, lyrical delivery and Etienne Flinn’s abyssal growl. The music oscillates between grinding heaviness and crushing funeral doom, as heard on “Angel of Mercy” and “…And the Thorn-Choked Flowers Grow”, while songs like “A Wound Unhealing” showcase a more fluid and ethereal quality. In Penitence and Ruin is a masterclass in elevated melancholy. – Antonio Poscic

Warfield – With the Old Breed (Napalm)

With The Old Breed by Warfield

The influence of German 1980s thrash metal legends Destruction, Kreator, and Sodom reaches far and wide, even in the genre’s contemporary landscape. Nonetheless, few bands reflect their sound as closely as Warfield from Kaiserslautern. On their sophomore LP With The Old Breed, there are moments when the trio’s collective onrush sounds like it was lifted straight from a long-lost 1980s bootleg—the opener “Melting Mass” captures the spirit of prime Sodom during the Agent Orange era—while vocalist Johannes Clemens, with his snarling grunt, could easily stand in for Mille Petrozza of Kreator.

Yet, listen a bit more closely, and there’s a ton of other, original stuff going on beneath the surface—a blackened flourish here, a melodic solo there—which shows that Warfield aren’t simply reproducing the past but are instead experimenting within the style. This creative approach allows them to transition smoothly from the nearly melodic death metal cut “Lament of the White Realm” to the epic, doomy “GASP”, all while moshing and thrashing with supreme gusto. – Antonio Poscic