![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/AMG_Apr25Filter_FB_Splash_3x.jpg\")
The cicadas have passed, the brood has bred. And now, it\u2019s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management\u2014all so you can have more of what you already get every day in these halls.<\/p>\n
Show your appreciation for what we bring to you, and enjoy ov deep Filter!<\/p>\n
Kenstrosity\u2019s Biblically-Accurate Beast Ego Dissolution by ANCIENT DEATH<\/a><\/p>\n Killjoy\u2019s Flavorful Feasts Extinct by Malphas<\/a><\/p>\n Svnth<\/a> \/\/ Pink Noise Youth <\/strong>[April 18th, 2025 \u2013 These Hands Melt<\/a>]<\/p>\n Pink Noise Youth by SVNTH<\/a><\/p>\n Owlswald\u2019s Wide-Eyed Wonders Face The End by Game Over<\/a><\/p>\n Kiritsis<\/a> \/\/ Kiritsis [April 4th, 2025 \u2013 Wise Blood Records\/Pout Records]<\/strong><\/p>\n Kiritsis by Kiritsis<\/a><\/p>\n Tyme\u2019s Grungy Gift Thunderball by Melvins<\/a><\/p>\n Dolphin Whisperer\u2019s Ample Acquisitions all you are is we by Emma Goldman<\/a><\/p>\n Sonum \/\/ The Obscure Light Awaits<\/a> [April 11th, 2025 \u2013 Dusktone<\/a>]<\/b><\/p>\n As a product of a previous filter fetching<\/a>, I had hoped to provide a lengthier statement on my enjoyment of Sonum<\/strong>\u2019s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum <\/strong>inhabits. And in post-growing melodic builds\u2014the kind of atmosphere that leans dissonant like the Ulcerate<\/strong>-channeling broodings of Devenial Verdict<\/strong><\/a>\u2014Sonum<\/strong> shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (\u201cTrapped in the Labyrinth of Aberration,\u201d \u201cNobody Is Innocent\u201d). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent\u2014the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum<\/strong> brings to the table lands in consistent and crushing effort (\u201cIn This Void We Dwell,\u201d \u201cMessenger of Cosmic Dread\u201d). As a band still finding their footing in the grander scheme of the death metal universe, Sonum <\/strong>has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring. <\/p>\n The Obscure Light Awaits (2025 \u2013 NEW ALBUM) by SONUM<\/a><\/p>\n Zmar\u0142ym \/\/ Wielkie Zanikanie<\/a> [April 18th, 2025 \u2013 Godz of War Productions<\/a>]<\/b><\/p>\n Once upon a time, Zmar\u0142ym<\/strong> fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we\u2019ve all stepped some distance\u2014a safe distance you might say\u2014away from that reality, Zmar\u0142ym<\/strong> has learned that the sad doesn\u2019t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you\u2019d find on a record like Voice<\/strong>\u2019s Frightened<\/a> or Cursebinder<\/strong>\u2019s Drifting<\/a>. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (\u201cMiejsca,\u201d \u201cBunt maszyn\u201d). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (\u201cSny o lataniu,\u201d \u201cPlamy II\u201d). And though a goofy mid-album Killing Joke-<\/strong>indebted romp\u2014even a switch to heavy accent English from the brooding native tongue\u2014threatens to break the sinister ambiance that Zmar\u0142ym <\/strong>explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmar\u0142ym<\/strong> has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.<\/p>\n
\nAncient Death<\/strong><\/a> \/\/ Ego Dissolution <\/strong>[April 18th, 2025 \u2013 Profound Lore Records<\/a>]<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/AncientDeath_EgoDissolution_01-500x500.jpg\")
A lot of people pine for Death<\/strong>. We know this due to the sheer number of Death<\/strong> worship acts out there, most of which operate eternally under that legend\u2019s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm<\/strong><\/a>. Thankfully, Massachusetts death metal quartet Ancient Death<\/strong> take on this mantle, blending much Death <\/strong>and The Chasm<\/strong> inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos \u201cEgo Dissolution\u201d and \u201cBreaking the Barriers of Hope\u201d strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like \u201cJourney to the Inner Soul\u201d feel story driven and purposeful. Standout tracks like \u201cBreathe \u2013 Transcend (Into the Glowing Streams of Forever),\u201d \u201cEchoing Chambers Within the Dismal Mind,\u201d and \u201cUnspoken Earth\u201d steal the show, however, boasting Ancient Death<\/strong>\u2019s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it\u2019s worth the investment!<\/p>\n
\nMalphas<\/a> \/\/ Extinct <\/strong>[April 11th, 2025 \u2013 Soulseller Records<\/a>]<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Malphas-Extinct-01-350x350.jpg\")
If I\u2019m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland\u2019s Malphas<\/strong> had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery<\/strong><\/a>\u2019s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer J\u00f6schu K\u00e4ser (also of Aara<\/strong><\/a> and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of \u201cButcher\u2019s Broom.\u201d This is key for Malphas<\/strong> to prove they have the nuance to pull off mid-paced tempos (\u201cMajestic Moon,\u201d \u201cConsumed,\u201d \u201cArmada Christi\u201d), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through \u201cMajestic Moon\u201d and the icy synths popping up momentarily in the instrumental closer \u201cAstral Dissonance.\u201d Fans of engaging and catchy meloblack won\u2019t want to miss out on Extinct.<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Svnth-Pink-Noise-Youth-01-350x350.jpg\")
You\u2019ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth<\/strong>\u2019s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd<\/strong>\u2019s review of 2020\u2019s Spring in Blue<\/a>. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off \u201cWinter Blues.\u201d There\u2019s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo\u2019s hypnotic intonation complements the chunky post-metal of \u201cPerfume\u201d as easily as the carefree guitar strumming in \u201cNairoby Lullaby.\u201d Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth<\/strong> seem determined to make the post-black genre their own and, by all indications, it\u2019s working.<\/p>\n
\nGame Over<\/a> \/\/ Face the End [April 25th, 2025 \u2013 Scarlet Records]<\/strong><\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Game-Over-Face-the-End-01-350x350.jpg\")
In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over<\/strong>\u2019s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder\/bassist\/vocalist Renato Chiccoli, Game Over<\/strong> revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I\u2019ve had with a thrash album in recent memory. \u201cGrip of Time,\u201d \u201cWeaving Fate\u201d and \u201cVeil of Insanity\u201d showcase Game Over<\/strong>\u2019s mastery of Testament<\/strong><\/a> and Exodus<\/strong><\/a>-level aggression while \u201cNeck Breaking Dance\u201d offers a light-hearted pit call reminiscent of early Anthrax<\/strong><\/a>. Alessandro Sansone\u2019s and Luca Zironi\u2019s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone\u2019s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina\u2019s charismatic, high-flying vocals immediately grab your attention on \u201cLust for Blood,\u201d never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be\u2014aggressive, dynamic and fun.<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Kiritsis-Kiritsis-01-350x350.jpg\")
Next up is the ruthless sludge and hardcore of Kiritsis<\/strong>. I hope you checked your fun at the door because this Indianapolis-based quartet isn\u2019t here to make friends. Formed by members of Trenches<\/a>, Hatesong, <\/strong>and Sundown<\/strong>, Kiritsis<\/strong>\u2019 self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass<\/strong><\/a>-like filth. Blake Henry\u2019s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason\u2019s grim riffing, Bill Scott\u2019s demonic bass growls and Nik Jensen\u2019s weighty drum strikes. \u201cLike the Taste,\u201d \u201cPissant\u201d and \u201cDeny.Defend.Dispose\u201d embody a Will Haven<\/strong> spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry\u2019s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged \u201cIt Ain\u2019t Easy\u201d and \u201cThieves and Fools\u201d drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won\u2019t find any overly technical or flashy music here\u2014this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.<\/p>\n
\nMelvins 1983<\/a> \/\/ Thunderball [April 18th, 2025 \u2013 Ipecac Recordings]<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Melvins-Thunderball-Cover-350x350.jpg\")
Hot on the heels and building off of 2024\u2019s Tarantula Heart, stalwart grunge\/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983<\/strong>\u2018s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes<\/strong><\/a> and Ni Ma\u00eetres<\/strong><\/a> to deliver yet another in a long line of inimitable, don\u2019t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins<\/strong> brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins<\/strong> project hits shelves. With Thunderball, Buzz \u2018n company have delivered another tasty morsel packed with some o\u2019 that Houdini-sweet heaviness (\u201cKing of Rome\u201d) that sweats grunge like \u201cNegative Creep.\u201d A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, \u201cVictory of the Pyramids\u201d is a decent summation of what you\u2019ll find lurking around most of Thunderball\u2018s thirty-four minute, five track corners, as Void Manes<\/strong> and Ni Ma\u00eetres <\/strong>don\u2019t so much enhance as they incorporate their particular brand of electronica into Thunderball\u2018s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983<\/strong>\u2018s Thunderball to those who might have missed it.<\/p>\n
\nEmma Goldman \/\/ All You Are Is We<\/a> [April 28th, 2025 \u2013 Zegema Beach Records]<\/b><\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Emma-Goldman-All-You-Are-Is-We-01-350x350.jpg\")
Sassy is as sassy does or somethin\u2019 like that. If you were wondering whether anarchist icon Emma Goldman<\/a> came back to life to front a mathcore band, I\u2019m sorry to report that that is not the case. However, if you\u2019re in the ballpark for Canadian punks speedballin\u2019 through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman<\/strong> will be your ticket to a hot psych ward summer. From working class psychosis (\u201ci don\u2019t think much at all,\u201d \u201cthis is your brain on minimum wage\u201d) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (\u201cat rock bottom i was a piss girl,\u201d \u201cthat is the land of lost content\u201d), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout\u2014two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera<\/strong><\/a> and Blind Girls<\/strong><\/a>, Emma Goldman<\/strong> in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (\u201cit rubs the boycott ketchup on its brand new slacks,\u201d \u201cthat is the land\u2026\u201d). And with a dollop more of that cathartic and capturing energy, Emma Goldman<\/strong> may yet charge with the notoriety of its namesake at the front of this genre pack.<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/06\/Sonum-The-Obscure-Light-Awaits-01-350x350.jpg\")
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