{"id":216865,"date":"2025-09-11T00:40:18","date_gmt":"2025-09-11T00:40:18","guid":{"rendered":"https:\/\/www.europesays.com\/us\/216865\/"},"modified":"2025-09-11T00:40:18","modified_gmt":"2025-09-11T00:40:18","slug":"stuck-in-the-filter-june-2025s-angry-misses","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/216865\/","title":{"rendered":"Stuck in the Filter: June 2025’s Angry Misses"},"content":{"rendered":"

\"\"
Sweat pours out of our pores. Heat blisters metal and scorches dirt. Power bills rise relentlessly, without mercy. These are the signs of summer in the brutal ductwork that is our hallowed Filter. But we continue onward in search of those metallic scraps that provide such unbridled joy to our masses. The only variable: who of my trusted team will survive this season, and who will perish in the service of this sacred duty?<\/p>\n

We won\u2019t know the answer until this article gets published. And when it is, the statistics will be fabricated and obfuscated accordingly. So ignore the death toll and instead peep the haul!<\/p>\n

Kenstrosity\u2019s Meanest Meanies
\nShadow of Intent<\/strong><\/a> \/\/ Imperium Delirium <\/strong>[June 12th, 2025 \u2013 Self-Release]<\/p>\n

\"\"For over a decade, Connecticut\/Rhode Island melodic deathcore independents Shadow of Intent <\/strong>challenged the standards of the genre by offering album after album of ripping tracks filled with drama, clever songwriting, and demolishing vocal talent. In their catalog, Elegy was the one record of theirs that didn\u2019t stick with me. However, Imperium Delirium rapidly righted the ship with 55 minutes of opulent, evil, and crushing melodic destruction. Raging through its first half without a single misstep, Imperium Delirium is a focused effort chock full of devastating heft, buttery smooth songwriting, and a favorable riffs-to-breakdowns ratio. The back half focuses on drama and orchestration just a touch more, but songs like \u201cFeeding the Meatgrinder,\u201d \u201cVehement Draconian Vengeance,\u201d and \u201cNo Matter the Cost\u201d still bring the violence required to annihilate entire planets. Championing this unending assault of killer tunes, Ben Duerr\u2019s vocal performance is intimidating to say the least, easily reinforcing his rightful place as one of the very best extreme vocalists in the scene today. Of course, the record is still too long by about 10 minutes, and a fair amount of that bloat comes from the slightly overblown self-titled closer. Additionally, while I appreciate the reverent nod to the instrumental talent on \u201cApocalypse Canvas,\u201d I don\u2019t believe it adds enough to the story of this record. Nonetheless, Imperium Delirium might be one of my favorite Shadow<\/strong>s of Intent<\/strong>, and I look forward to where it leads me next.<\/p>\n

\ufeffImperium Delirium by Shadow Of Intent<\/a><\/p>\n

ClarkKent\u2019s Literary Listen
\nNightbearer<\/a> \/\/ Defiance [June 13, 2025 \u2013 Testimony Records<\/a>]<\/strong><\/p>\n

\"\"Anyone looking for a mashup of Phillip Pullman\u2019s His Dark Materials trilogy and Gothenburg melodeath, look no further than the latest album from Germany\u2019s Nightbearer<\/strong>. Defiance marks album number three in the band\u2019s repertoire, and a continuation of their worship of fantasy epics. Right off the bat, the catchy harmonic guitar lead of \u201cHis Dark Materials\u201d summons Dark Tranquillity<\/strong><\/a> and At the Gates<\/strong><\/a>. The guitar work by Dominik Hellmuth and Tristan Schubert is fantastic throughout\u2013their creative melodies bring to mind lively outfits like Brymir<\/strong><\/a>. Michael Torka\u2019s beastly growls and Manuel L\u00fcke\u2019s thunderous drumming add some brutality and weight to the harmonious riffs. A few songs even go full brutal death metal (\u201cOne Church Over All\u201d, \u201cDying Knows No Bounds\u201d). Perhaps the standout track comes from the 9-minute epic, \u201cAscension.\u201d It starts with an eerie synth intro before breaking out into some of the best riffs on Defiance. Then, just as things settle down, the song builds back up and explodes into something straight from Blackwater Park-era Opeth<\/strong><\/a>. Overall, this is an impressive collection of songs that\u2019s sure to scratch that HM-2 itch.<\/p>\n

Defiance by Nightbearer<\/a><\/p>\n

Tyme\u2019s Juxtaposed Jotting
\nLipoma<\/a> \/\/ No Cure for the Sick [June 13th, 2025 \u2013 Gurgling Gore<\/a>]<\/p>\n

\"\"Melodic gore-grind. Yeah, it\u2019s a thing. And California-based Lipoma<\/strong>\u2019s new album, No Cure for the Sick, proves it\u2019s a pretty fucking cool thing at that\u2014the brainchild of one Max Pierce (aka Dr. Lipoma). Since going live in 2021, Lipoma<\/strong> has been insanely active, releasing a slew of splits and EPs along with two full-length albums: 2022\u2019s Horrors of Pathology and 2023\u2019s Odes to Suffering. And while Lipoma<\/strong> has steadily worked to make comparisons with fellow purveyors like Carcass<\/strong><\/a>, Lymphatic Phlegm<\/strong>, and Pharmacist<\/strong><\/a> less relevant, No Cure for the Sick moves things to a different ballpark, one full of Gothenburgian melodicism (\u201cCult of the Firehealers,\u201d \u201cGlory to the Blade\u201d), post-metallic pop-punk optimism (\u201cCardiac Scars Forever,\u201d \u201cPsalms of Psoriasis\u201d), indecipherable gurgles, and organ, which is what sets Lipoma<\/strong>\u2019s No Cure for the Sick apart not only from previous efforts, but the pack in general. From the circus-like atmosphere shrouding opener \u201cThe Sea Surgeon,\u201d Pierce\u2019s use of organ permeates much of No Cure for the Sick\u2019s forty minutes, buoying the melodic heaviness and excellent solo work with jig-like danceability (\u201cRemedies of Pagan Medicine,\u201d \u201cLast Anatomy of Johan Ziegler,\u201d \u201cNo Cure for the Sick\u201d). Pierce\u2019s melodically charged instrumentation, when juxtaposed against his gore-ground gurglings\u2014a combo that works in a way it has no right to\u2014sees Lipoma<\/strong> doing something I find wholly unique, a rarity in today\u2019s digital age. I have had a ton of fun with No Cure for the Sick, and if you\u2019ve not checked it out yet, do so post haste.<\/p>\n

No Cure for the Sick by Lipoma<\/a><\/p>\n

Iceberg\u2019s Frosty Forget-Me-Nots
\nPuppe Magnetik<\/a> \/\/<\/strong> Laudans Deum<\/a> [June 6th, 2025 \u2013 The Circle Music<\/a>]<\/p>\n

\"\"Laudans Deum is not for the faint of heart, if that album cover didn\u2019t quite convince you. The debut compilation of Puppe<\/strong> Magnetik<\/strong>, the record dives deep into the recesses of the human psyche. Aina Virtanen weaponizes industrial metal, ambient, and drone, wrapped up in the stylings of the Weimar Republic. An accomplished classically-trained musician, Virtanen uses her clean vocals sparingly (\u201cWho Will Sing This Sorrow,\u201d \u201cLabyrinth\u201d) but to great effect, reminiscent of Diablo<\/strong> Swing<\/strong> Orchestra<\/strong><\/a>. But the accessibility stops there; Laudans Deum\u2019s thirteen tracks are comprised of ambient meditations (\u201cMoritat\u201d), ear-splitting electronic barrages (\u201cSuspendium, Rosarium et Crucifixu\u201d), and mood music fit for a throwback horror movie (\u201cThe Pregnant Nun,\u201d \u201cPatient AV\u201d). But within the graveyard are scattered moments of respite; the gorgeously rendered classical guitar of \u201cTimeless Serenade\u201d and the haunting vocals of \u201cLaments From The Desert.\u201d While the album is unforgivingly through-composed, making for an exceptionally difficult first listen, there\u2019s something darkly endearing about it. I\u2019m reminded of Sergei Prokofiev, the Russian composer whose music was often described as both grotesque and starkly beautiful. Puppe Magnetik<\/strong> have produced a challenging record, but it\u2019s worth a listen for those who enjoy avant-garde music and the stranger, more terrifying corners of the aural arts.<\/p>\n

Laudans Deum by Puppe Magnetik<\/a><\/p>\n

All Men Unto Me<\/a> \/\/<\/strong> Requiem<\/a> [June 27th, 2025 \u2013 The Larvarium]<\/p>\n

\"\"A little more metal, but a lot more challenging, All Men Unto Me\u2019s<\/strong> Requiem brings to bear the full weight of spiritual suffering. Requiem is a direct interpretation of the Latin Mass for the Dead, it\u2019s eight tracks playing all the hits. Fuzzed out, half-time doom takes a supporting role in a record that heavily features pipe organ, acoustic guitar, and string leads. Rylan Greaves takes a unique approach here, subverting the natural tension and release of the rite by injecting clanging noise into passages normally reverent. Their vocal performance is the unrepentant star of the show, at times crystalline (\u201cIntroit\u201d) at others sobbing (\u201cKyrie\u201d) straining (\u201cAgnus Dei\u201d) and howling (\u201cSequentia\u201d). The album takes its time to sink its claws into you, with long track lengths and extended droning chords requiring patience. But pay close attention to Greaves\u2019 lyrics and you can\u2019t help but be pulled into the raw, emotional drama of Requiem. The rising, ethereal sunset of \u201cIn Paradisum,\u201d the falsetto whisper speaking \u201cGod knows what I\u2019d be without you\u201d against an impossibly high, ever so slightly off-key bell-tone. One\u2019s left wondering the true meaning of that line as the track ends, and the dead remain silent. A powerful statement indeed.<\/p>\n

Requiem by All Men Unto Me<\/a><\/p>\n

\u00a0<\/p>\n

Mystikus Hugebeard\u2019s Cybernetic Catalogue
\nN\u039eT-RUIN\u039eR<\/a> \/ \/ Prototype [June 6th, 2025 \u2013 Self-Release]<\/strong><\/p>\n

\"\"I am on a quest, dear reader. A quest to find the most perfect of unions between cyberpunk darkwave\u2014I\u2019m thinkin\u2019 of Magnavolt <\/strong>or Daniel Deluxe<\/strong>\u2014and metal music. This holy quest has led me to the UK\u2019s N\u039eT-RUIN\u039eR<\/strong>, and thus must I share it with you because their debut Prototype absolutely rules. As it turns out, this slab of cybersynth metalwave belongs to a genre I\u2019ve long enjoyed but never knew had a name: Argent Metal. It\u2019s derived from the modern Doom soundtrack: that kind of djenty, electronic-heavy industrial metal that makes you extremely eager to commit war crimes on demons from hell. Indeed, Prototype swings enough Argent weight around to knock some teeth loose, like in \u201c\u2026Lowlife\u201d and \u201cSupplicant.\u201d But Prototype isn\u2019t just \u201cwe have the Doom OST at home,\u201d because N\u039eT-RUIN\u039eR<\/strong> more vigorously incorporates the straightforward darkwave song structure onto the industrial metal soundscape. I wish more bands did this, because the result is so good. \u201cInfiltrator\u201d and \u201c20XX\u201d are absolute jams that infuse weighty guitars with the pulse-pounding beat of cyberwave synthdark. But the real winner is \u201cBasilisk\u201d where a cyberpunk build-up marches into a standard bass drop, only the bass drop is 20,000 tons of diabolical riff kept at a relentless tempo. Prototype is exciting, accessible, and loads of fun. It has also served as a wonderful gateway to tons of great music that I now have a name for, and I hope it does for you as well. For now, my quest continues; Prototype is thus far the closest to cyberpunk Nirvana I\u2019ve reached, but my heart tells me more is out there.<\/p>\n

Prototype by NET-RUINER<\/a><\/p>\n

Killjoy\u2019s Fabulous Find
\nFabula Rasa<\/a> \/\/ Tome II: The Beyond <\/strong>[June 13th, 2025 \u2013 Self-Release]<\/p>\n

\"\"The words \u201cfabulous\u201d and \u201cfable\u201d are interconnected, both derived from the Latin word \u201cfabulosus.\u201d And since folk music and power metal draw heavily from fables and myths, the portmanteau Fabula Rasa<\/strong> is a fitting name for a group that blends both genres. Following the lead of forebears Elvenking<\/strong><\/a> and early M\u00e4go de Oz<\/strong>, this spirited crew from D\u00fcsseldorf, Germany, infuses what would otherwise be standard\u2014but good!\u2014heavy\/power metal with lots of violin. The violin and guitar trade off playing the lead melodies, though the former tends to have greater emphasis. But fret not, shred-heads, for the guitar solos are also exemplary in the more power metal-leaning songs, like \u201cDragon Rising\u201d and \u201cVengeance Is Mine.\u201d The violin often carves its own folksy space, the cheery, zippy fiddling akin to Dalriada<\/strong> (\u201cAt Full Moon,\u201d \u201cAnthem of the North\u201d). Most songs are energetic, but \u201cBurning Innocence\u201d is a pleasant surprise midway through the record, with hand drums and the other band members\u2019 vocal contributions creating an intimate group setting. Don\u2019t miss this charismatic performance from these fabulous musicians.<\/p>\n

Tome II: The Beyond by Fabula Rasa<\/a><\/p>\n

Maddog\u2019s Sludgy Selection
\nDimsc\u00fba<\/a> \/\/ Dust Eater<\/a> [June 3rd, 2025 \u2013 Self-Release]<\/p>\n

\"\"While sludge is a dime a dozen, few bands scratch the same itch as Amenra<\/strong>\u2019s best work. The UK\u2019s Dimsc\u00fba<\/strong> aims to correct this oversight. Dust Eater opens with \u201cElder Bairn,\u201d whose rhythmic riffs evoke the meditative power of LLNN<\/strong>. After this appetizer, the album\u2019s interplay between brawn and heart rivals Amenra<\/strong>. While Dimsc\u00fba<\/strong>\u2019s muscular riffs drive the album forward (\u201cExistence\/Futility\u201d), Dust Eater stands out through its hypnotic melodies. The heartache in these melodies is palpable, magnified by tortured vocals that recall Julie Christmas<\/strong>. Because of this ebb and flow, the album never feels bloated despite its eight-minute average track length. For instance, \u201cExistence\/Futility\u201d abandons and then suddenly resurrects its driving main riff, adding unexpected variety and lodging into my memory. Dust Eater\u2019s climaxes sometimes fall short, like the fizzle-out ending of \u201cThe Dusteater.\u201d But despite its imperfections, Dimsc\u00fba<\/strong>\u2019s debut is a powerful outing in a neglected style.<\/p>\n

Dust Eater by Dimsc\u00fba<\/a><\/p>\n

Dear Hollaback\u2019s Ain\u2019t No B-A-N-A-N-A-S
<\/strong>
\nVarious Artists \/\/ KPop Demon Hunters [Original Motion Picture Soundtrack] [June 20th, 2025 \u2013 Republic Records<\/a>]<\/p>\n

\"\"Okay, look. Look. K-Pop is not metal, I get that. But the gang over at Sony concocted what just recently earned the title of Netflix\u2019s most watched movie of all time<\/a>, and holy shit, what a soundtrack.. I\u2019d like to use the classic \u201cmy daughter made me do it\u201d schtick but she only likes \u201cTakedown.\u201d KPop Demon Hunters creates insanely catchy pop music that\u2019s also focused and intentional, a commentary on the rigid and flagellant nature of K-Pop alongside feel-good messages of self-acceptance and healing (\u201cGolden,\u201d \u201cWhat It Sounds Like\u201d). The focal girl group HUNTR\/X <\/strong>does most of the heavy lifting, also tossing in enough pop culture-inclined battle hymns to make the republic jealous (\u201cHow It\u2019s Done,\u201d \u201cTakedown\u201d). Their on-screen rivals Saja Boys <\/strong>offer entendre-layered sugary pop (the infamous \u201cSoda Pop\u201d) and sinister Gregorian-influenced choruses (\u201cYour Idol\u201d). Beyond the novelty is intentionality: clever chord progressions that feel continually transcendent rather than stagnantly by-the-numbers (\u201cWhat It Sounds Like\u201d), diminuendos of authenticity among bombasts of a glossy sheen (\u201cGolden\u201d), touches of dissonance paired with unsettling slant rhymes (\u201cYour Idol\u201d), and rhythmic complexity building to ethereal climaxes of soaring belts (\u201cFree\u201d). While yes, I\u2019m telling you to give it a spin, I am also giving excuses for why my review count dropped to critical this summer. Fuck off, I\u2019m gonna be, gonna be golden.<\/p>\n<\/p>\n

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