{"id":980547,"date":"2026-08-04T17:51:26","date_gmt":"2026-08-04T17:51:26","guid":{"rendered":"https:\/\/www.europesays.com\/us\/980547\/"},"modified":"2026-08-04T17:51:26","modified_gmt":"2026-08-04T17:51:26","slug":"stuck-in-the-filter-may-2026s-angry-misses","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/980547\/","title":{"rendered":"Stuck in the Filter: May 2026’s Angry Misses"},"content":{"rendered":"

\"\"<\/p>\n

Since the last Filter dropped, it still hasn\u2019t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd\u2019s clutches. Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.<\/p>\n

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!<\/p>\n

Kenstrosity\u2019s Thrashed Thrall
\nAscended Master<\/a> \/\/ Crepuscular Gloom [May 8th, 2026 \u2013 Self Released]<\/p>\n

\"\"Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati\u2019s Ascended Master<\/strong> nail that combination right into the grave, boasting a sound that\u2019s three parts Death<\/strong><\/a>, one part Atheist<\/strong>, and a pinch of Blood Red Throne<\/strong><\/a>. With a sense of groove that gives barnburners \u201cBlood Spilled Upon the Stars,\u201d \u201cCrepuscular Gloom,\u201d and rabid closer \u201cXenopaleontology\u201d a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom\u201d is a record pumped full of testosterone and adrenaline. Speedy rippers like \u201cMidnight Mother\u201d and \u201cGhoul Queen\u201d put the pedal to the metal with a ferocity more commonly associated with Kvaen<\/strong><\/a> or Hellripper<\/strong><\/a> in the modern pantheon, but the record\u2019s natural engineering and coherent screams hark to earlier times where Death<\/strong> reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master<\/strong> have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we\u2019ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you\u2019ll see!<\/p>\n

\ufeffCrepuscular Gloom by Ascended Master<\/a><\/p>\n

Creeping Ivy\u2019s Blackened Beauty
\nDeus Sabaoth<\/a> \/\/ Distortion of Lies [May 29th, 2026 \u2013 Paragon Records]<\/p>\n

\"\"I\u2019m usually skeptical when a band releases full-lengths in subsequent years. As record sales decreasingly constitute the economic livelihood of musicians, the commercial imperative to annually churn out albums like its the \u201980s no longer exists. In the case of Ukrainian black metal band Deus Sabaoth<\/strong>, however, the commercial imperative exists. The band self-released their 2025 debut Cycle of Death<\/a> (expertly unclogged by Iceberg<\/strong>), but 2026\u2019s Distortion of Lies sees Deus Sabaoth <\/strong>added to blue-collar label Paragon Records. As a signed band, this Ukrainian trio delivers a similar, slightly elevated version of their debut. Alongside Mistur<\/strong><\/a>-style riffing, Deus Sabaoth <\/strong>incorporate piano and strings into a 7 song barrage of melodic black metal. Aara<\/strong><\/a> and Afsky<\/strong><\/a> also come to mind, insofar as the band skews towards the raw side of production, keeping things grand yet somber, furious yet delicate. Distortion of Lies wallops with some straight-away ragers fueled by the usual concoction of tremolos, rasps, and blast beats (\u201cWorship,\u201d \u201cTree of Knowledge\u201d). As the album progresses, however, Deus Sabaoth <\/strong>let the strings soar, creating ornate moments that class up their black metal without becoming symphonic (\u201cLast Gleam,\u201d \u201cImperishable Script\u201d). If you are new to Deus Sabaoth, <\/strong>Distortion of Lies is a fine starting point and a worthwhile investment at 35 minutes. Perhaps with more time between releases, these Ukrainians will seize upon their potential to create something singular.<\/p>\n

Distortion of Lies by Deus Sabaoth<\/a><\/p>\n

ClarkKent\u2019s Prehistoric Pulls
\nIlienses Tree<\/a> \/\/ Toward the Storm [May 1st, 2026 \u2013 Meuse Music Records<\/a>]<\/p>\n

\"\"Ilienses Tree<\/strong> sow their roots deep into the island the band originates from\u2014Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn\u2019t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride<\/strong><\/a>, but their record also contains the unpredictable dynamic drumming of Oromet<\/strong><\/a> and sneaks into speedier death\/doom territory akin to Paradise Lost<\/strong><\/a> and Novembers Doom<\/strong><\/a>. Ilienses Tree<\/strong> have a mastery over melancholic lead riffs, such as the one that opens \u201cTo Not Be Forgotten.\u201d \u201cSudden Rain\u201d flexes the band\u2019s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you\u2019d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.<\/p>\n

Ilienses Tree \u2013 Toward The Storm | MMR075 by Ilienses Tree<\/a><\/p>\n

Anna Fiori<\/a> \/\/ Metztli [May 21st, 2026 \u2013 Self Released]<\/p>\n

\"\"Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori<\/strong>, however, has created something pretty special, with a Mexican\/Aztec twist on the genre. Her band mixes \u201cpre-Hispanic instrumentation\u201d with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black<\/strong><\/a> mold (\u201cEn El Vacio\u201d), others take a longer-form route. The nine-minute \u201cLuna Llena (Xiki Noeso)\u201d blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, \u201cLuna Menguante (Nimotemak),\u201d contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori\u2019s performance ties it all together. She sings in the sweet poppy manner of Epica<\/strong><\/a>\u2019s Simone Simons, the operatic style of many a Therion<\/strong><\/a> singer, and even some growls in the spirit of Seven Spires<\/strong><\/a>\u2019s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, \u201cTetzahuitl, Pt. 2: El Origen,\u201d and goes off-script with an infectious laugh on \u201cEntre Mil Voces.\u201d Clearly she\u2019s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.<\/p>\n

Metztli by Anna Fiori<\/a><\/p>\n

Grin Reaper\u2019s Spring Fling
\nBeyond the Veil \/\/ Oblivion [May 1st, 2026 \u2013 Wormholedeath Records<\/a>]<\/p>\n

\"\"There\u2019s little online information about Tokyo prog metallers Beyond the Veil<\/strong>, and while I don\u2019t recall how I stumbled across debut Oblivion, I\u2019m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth<\/strong><\/a> and Dream<\/strong> Theater<\/strong> will uncover a trove of unapologetic prog where Beyond the Veil<\/strong> weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil<\/strong>, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I\u2019ve come to appreciate the most as I revisit Oblivion is Beyond the Veil<\/strong>\u2019s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They\u2019re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil<\/strong> doesn\u2019t break the mold with this one, getting lost in Oblivion never sounded so sweet.<\/p>\n<\/p>\n

Lago<\/a> \/\/ Vigil [May 8th, 2026 \u2013 Everlasting Spew Records<\/a>]<\/p>\n

\"\"Vigil introduced me to Lago <\/strong>and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation<\/strong><\/a>, Morbid Angel<\/strong><\/a>, and Incantation<\/a> <\/strong>pumps through Lago<\/strong>\u2019s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen\u2019s devilishly demented gutturals. Lago<\/strong>\u2019s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago <\/strong>dredges is Gus Barr\u2019s warbling lead guitar, which cuts through the grime with off-kilter shredding. \u201cBehold, Ruin\u201d and \u201cInitiation Rite\u201d hit with the immediacy and aplomb of Immolation<\/strong><\/a>, lurching onwards with Brian Miller\u2019s timekeeping straight out of Close to a World Below\u2019s playbook. Meanwhile, \u201cProcession into Slaughter\u201d and \u201cThe Land Was a Desert\u201d launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago <\/strong>screams danger, yet once the blood starts flowing it\u2019s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won\u2019t want them to Lago<\/strong>.<\/p>\n

Vigil by Lago<\/a><\/p>\n

Redshift<\/a> \/\/ Down the Wire [May 29th, 2026 \u2013 Pale Wizard Records<\/a>]<\/p>\n

\"\"As a massive Rush<\/strong> fan, Redshift<\/strong>\u2019s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins\u2019 tender tenor call to mind Canada\u2019s greatest export for all the right reasons. Yet Bath, England\u2019s Redshift <\/strong>is more than a Rush<\/strong> clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift<\/strong> explores vast territory in a commensurately brief runtime. Opener \u201cThe Routine\u201d hits the Rush<\/strong> influence hard and early, but \u201cThe Clown\u201d draws upon Synchestra-era Devin Townsend<\/strong> kookiness while \u201cThe Rogue\u201d dabbles in Yes<\/strong>ified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater<\/strong>, ex-Yngwie Malmsteen<\/strong>). One thing Redshift<\/strong> steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven \u201cThe Rogue\u201d while \u201cThe Singer\u201d assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you\u2019re Down to the Wire and need a prog fix quickly, Redshift<\/strong> is a clever choice that won\u2019t disappoint.<\/p>\n

Down the Wire by Redshift<\/a><\/p>\n

Spicie Forrest\u2019s Nostalgic Nugget
\nHaste the Day<\/strong> \/\/ Dissenter [May 1st, 2026 \u2013 Solid State Records]<\/p>\n

\"\"I haven\u2019t heard the name Haste the Day<\/strong> since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn\u2019t latch on to them as I did other acts of their ilk. It\u2019s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying<\/strong> and August Burns Red<\/strong><\/a>, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech\u2019s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park<\/strong> (\u201cShallows,\u201d \u201cGrave\u201d). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (\u201cBurn\u201d). When Michael Murphy\u2019s bass comes to the fore, as on \u201cLiminal,\u201d he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo\u2019s kit work (\u201cAdrift,\u201d \u201cEscape\u201d). For those of us who cut our teeth on acts like Haste the Day<\/strong>, late-career and comeback albums can be an anxious affair, but I\u2019m happy to report that Dissenter is a worthy walk down memory lane.<\/p>\n<\/p>\n

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