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Happy New Year, folks. It’s still before midnight here in Pacific Standard Time (aka the only time zone that matters) so legally speaking I’ve managed to fire this off while it’s still 2025. I listened to lots of great shit this year, and my favorites are below. In each category I’ve got a list of runners-up in alphabetical order followed by a winner, and down at the bottom is my overall Album of the Year. Let’s get to it!

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Death Metal

Runners-up:
Clairvoyance – Chasm of Immurement
Dormant Ordeal – Tooth and Nail
Glorious Depravity – Death Never Sleeps
Hedonist – Scapulimancy
Malthusian – The Summoning Bell
Mortual – Altar of Brutality
Ritual Mass – Cascading Misery

Winner: Rothadás – Töviskert… a kísértés örök érzete… lidércharang

As per usual, my hardest decision of the year comes in the death metal category. This year featured killer debut LPs from all over the world—Mortual (Costa Rica), Clairvoyance (Poland), Ritual Mass (US), Hedonist (Canada)—and you could make a decent argument for each. The veteran outfits here also delivered some of their best work: Dormant Ordeal’s first foray without founder Radek Kowal proved they haven’t lost a step, while Rothadás and Malthusian each delivered sophomore slabs of dark, brooding atmospheric brutality. The Hungarians won me out in the end with their pummeling, doom-tinged tunes, grim old school graveyard death with impressive songwriting and hefty thumping production. It’s moody and bleak, with foggy layers of heavy atmosphere and riffs to die for. 

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Black Metal

Runners-up:
Amalekim – Shir Hashirim
Blood Abscission – I I
Hæresis – Si Vis Pacem Para Bellum

Winner: Vigljós – Tome II: Ignis Sacer

This year was underwhelming for me on the black metal front, lots of good but very little great, and fewer still that really spoke to me.  The Amalekim record’s dark, subversively religious aura latched onto me, as did the atmospheric balance of violence and beauty in Blood Abscission’s sophomore release. I discovered Hæresis in early December while checking out things I’d missed and was blown away by their stunning, thoughtful songwriting. It’s Vigljós, though, that captured my ears in dramatic fashion  with Tome II: Ignis Sacer. Their raw, medieval-influenced tunes are exquisite, weaving evocative melody into layers of buzzing distortion, striking wails and screams against hypnotic guitars and drums that range from mesmerizing to downright danceable. I can’t recommend it highly enough. 

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Progressive, Technical, Melodic, and Otherwise Rad Subgenre-Modifying Shit

Runners-up:
Cave Sermon – Fragile Wings
Defacement – Doomed
In Mourning – The Immortal
Pillars of Cacophony – Paralipomena
Species – Changelings
Synaptic – Enter the Void
Weeping Sores – The Convalescence Agonies

Winner: An Abstract Illusion – The Sleeping City

There was quite a dogfight here in the catch-all category for subgenre modifiers. In Mourning’s newest was downright stunning, while Cave Sermon’s expansion into post-death was nothing short of a triumph. Defacement also pushed into post-metal textures with great success, and Pillars of Cacophony literally infused their dissonant chaos with bioscience. Species laid down one of the coolest and most colorful prog thrash records in recent memory, Weeping Sores ripped out our hearts with agonizingly personal avant-death/doom, and German melo-tech outfit Synaptic shredded brains with their thrilling debut LP (shoutout Max from Sublation for putting me onto this January banger in December). But amongst all this excellence, the winner is The Sleeping City, a masterpiece of a follow-up to what for many was the 2022 AOTY. An Abstract Illusion have truly cemented themselves as the pinnacle of modern progressive death metal.  

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BRUTALITY

Runners-up:
Compulsed – Amalgamated Anguish
ByoNoiseGenerator – Subnormal Dives

Winner: Kakothanasy – Metagonism

In a world where brutal death metal bands are a dime a dozen, it takes a lot to stand out while playing straight up brutal death, but Compulsed did exactly that on their debut LP. The other way to stand out in the brutal scene is by playing either shit that’s excessively weird, which is how we find ByoNoiseGenerator’s remarkably coherent brutal jazzgrind here, or staggeringly technical and complex…which also applies to ByoNoiseGenerator, but more importantly describes Kakothanasy. The Swiss outfit, featuring members of Anachronism and Grotesquerie, delivered a mercilessly precise and punishingly heavy dose of ultra-technical nonsense (complimentary).

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Great Achievement in Still Being Pissed as Fuck After 20+ Years

Winner: The Acacia Strain – You Are Safe from God Here

Many bands are pissed off. Many bands are pissed as fuck, even. The Acacia Strain are, if anything, more pissed off now than they were back in 2002. It’s a rare act that can roll on without losing a single ounce of venom over more than two decades, and these guys are the blueprint. You Are Safe from God Here is some of their absolute best work, a gargantuan, fuming eruption of malice that has all the unvarnished hate of their early releases honed with the more mature, progressive leanings of their last few. 

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Best Clean-Sung Metal ’25

Runners-up:
Majestica – Power Train
Messa – The Spin

Winner: Pagan Altar – Never Quite Dead

Being someone who 1) is a millennial and 2) came into metal fandom in my late teens, I met a lot of legendary bands on the late side. I’ve devoured many a legacy act discography in retrospect after being tipped off to their existence by a trusted source, and to wit: I’d never even heard of Pagan Altar until Westin recommended this record as one of our mid-year nominees. I’ve fallen in love with the bluesy, doomy songwriting and vivid riffs of Never Quite Dead and it’s led me to a slow journey of discovering their classic releases. This album feels both fresh and timeless at the same time, and new frontman Brendan Radigan (Sumerlands, Savage Oath) lays down the perfect vocal performance to match. A true gem of modern British heavy metal. 

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Non-metal AOTY

Winner: clipping. – Dead Channel Sky

I’ve sung this album’s praises before and I’ll damn sure do it again. clipping. took the experimental industrial horrorcore sound of their previous releases it and delved into glitchy digital futurism and old school takes on technology, a glorious cyberpunk amalgamation. This half-flesh half-tech monster ranges widely from energetic 80s sci-fi to pumping dance club beats to the group’s signature noise and field recording elements. Daveed Diggs’ flow is as precise and intricate as ever, and the words fly out fast enough to make your head spin. This is absolutely top notch hip hop. 

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And your 2025 Album of the Year is:

An Abstract Illusion – The Sleeping City

I’ve already said many things about this wonderful record—you can read my review here, if you want—so I’ll just say that The Sleeping City has continued to grow on me and at this point I can’t imagine any other album holding the Album of the Year title. It’s magnificent and stands side by side with their outstanding previous record Woe rather than in its considerable shadow.

The post Kep’s Best Albums of 2025 appeared first on Noob Heavy.

  2025 Top Ten Stoner Rock Albums (#10-1)

Of course, there are great albums I’m unaware of, but here are my top ten favorite albums I’ve bought this year:

 

#10: Death Wheelers: The Ecstasy Of Möld

The Death Wheelers get better with each release.  They are now my favorite instrumental stoner rock band.  Every track on this is perfect, and if you told me it should be #1 on the list, I wouldn’t argue.

#9: Nightstalker: Return From The Point Of No Return

I’ve always loved Nightstalker, and this is one of their best albums.  It soothes my soul.

#8: Dozer: Rewind To Return: Rarities, Singles And B-Sides

  2025 Top Ten Stoner Rock Albums (#10-1)

Of course, there are great albums I’m unaware of, but here are my top ten favorite albums I’ve bought this year:

 

#10: Death Wheelers: The Ecstasy Of Möld

The Death Wheelers get better with each release.  They are now my favorite instrumental stoner rock band.  Every track on this is perfect, and if you told me it should be #1 on the list, I wouldn’t argue.

#9: Nightstalker: Return From The Point Of No Return

I’ve always loved Nightstalker, and this is one of their best albums.  It soothes my soul.

#8: Dozer: Rewind To Return: Rarities, Singles And B-Sides

Per Google Oxford Languages, to reimagine is to reinterpret (an event, work of art, etc.) imaginatively. To form a new conception. I thought in light of the upcoming New Year, where we often contemplate and try reimagining our jobs, our hobbies and interests, ourselves and our life paths, I would share a collection of songs expertly reimagined by many skilled artists.

There have been times when hearing a new song that somehow seems familiar, yet new, I then have the “a-ha” moment realizing it is an interpretation of a song I know, and marvel at the metamorphosis. Sometimes this entails a total reworking of the style, feel, and approach of the song, making it almost unrecognizable. Other times it is more a genre or energy shift. But the result is often a spectacular seemingly new cover song that is often equal if not superior to its original tune.

The ones that come to mind most readily for me are some interestingly enough by the original artist in a new iteration of themselves, often in their transition from membership in their rock band to their status as a solo artist. Think Phil Collins/Genesis with “Behind the Lines,” the solo offering a pop-R&B version of the song, with the original a progressive rock staple.

Or Sting/Police with Shadows in the Rain, with reggae rock giving way to a jazz-pop style.

And Clapton actually questions on Unplugged “See if you can spot this one” regarding his reimagination of Layla, virtually unrecognizable until you really focus on the lyrics and melody, so different than its early 70s guiotar driven blues rock.

Then CeeLo Green reenvisions his alter ego Gnarls Barkley’s psychedelic funk-soul “Crazy” to a more unplugged acoustic offering.

Sometimes, as discussed in my previous blog Cover Me – Great Cover Songs & Their Originals (October 21, 2021 – see/search via Playlist menu for an exhaustive list of cover tracks often better than their originals), songs we know and love, unbeknownst to us, are actually covers. The one that continues to blow me away in this regard is Led Zeppelin’s beautiful power rock ballad “Babe I’m Gonna Leave You,” originally a droning cat wailing song not worth remembering by Joan Baez. How Zep listened to that song and thought “we can turn this into a breathtaking, powerful track on their debut album to me is beyond comprehension. Only the most creative, gifted musical gods could pull off such a transformation.

Here is Pink’s fantastic cover of the Zep version:

Watching American Idol in 2008, David Cook was competing and as I listened to his cover, while I sensed I knew the lyrics and melody, I couldn’t quite place it, until it dawned on me it was Michael Jackson’s “Billie Jean.” Or was it? It was the Chris Cornell version/interpretation, which was pure genius.

One of my favorite Indie artists and former Glee and America’s Got Talent alum built a YouTube following with his creative interpretations of pop songs. His version of LMFAO’s “Sexy And I Know It” put him on the map. And Prince’s “I Would Die For You” was equally creative.

And his interpretation of Prince’s “I Would Die For You” was equally creative.

It often takes a verse or two of such wildly reimagined songs before you fully recognize and place the tune.

Other notable reimaginations include Natalie Merchant’s version of The Chiffons’ “One Fine Day” from the movie of the same name, Annie Lennox’ covers of the Clash’s “Train In Vain” and Bob Marley’s “Waiting In Vain” off her album of covers “Medusa.” There’s Lourde’s etherial somber cover of Tears For Fears’ “Everybody Wants To Rule The World.” Tori Amos covers Nirvana, of all bands, with a very non-grunge interpretation “Smells Like Teen Spirit.” And Ryan Adams covering miss Eras herself, Taylor Swift’s “Shake It Off.” Or Evanescense soaring with Fleetwood Mac’s “The Chain.”

Joe Cocker delivers the definitive soul interpretation of The Beatles “With A Little Help From My Friends” as does Johnny Cash with Nine Inch Nails’ “Hurt.”

 Many reimaginations are courtesy of a genre shift, often a shift from country or pop to rock, blues, reggae, techno-pop, or rap. Think Run DMC reenvisioning Aerosmith’s “Walk This Way,” of Stevie Ray Vaughn’s blues coverage of Stevie Wonder’s funk soul “Superstition.”

Or Elvis Presley’s 50s rock and Jim Hendrix’ acid rock reinterpretations of Big Mama Thorton’s blues classic “Hound Dog.” There’s Sting covering Hendrix’ “Little Wing,” Hendrix covering Bob Dylan’s “All Along The Watchtower,” and Guns N’ Roses covering Dylan’s “Knockin’ On Heaven’s Door.”

Classic reggae reinterpretations include UB40’s “Red Red Wine” (Neil Diamond) and “I Got You Babe” (Sonny & Cher), Club Nouveau’s “Lean On Me” (Bill Withers), and Big Mountain’s “Baby I Love Your Way” (Peter Frampton). Techno-pop interpretations include Erasure’s “River Deep, Mountain High” (Ike & Tina Turner), The (English) Beat’s “Tears Of A Clown” (Smokey Robinson & The Miracles), Pet Shop Boys “Always On My Mind” (Willie Nelson), and Soft Cell’s “Tained Love” (Gloria Jones).

Some inspiration for creative covers of movie songs include Whitney Houston’s soaring anthem “I Will Always Love You” (Dolly Parton/Best Little Whorehouse in Texas), The Beatles “Till There Was You” (Barbara Cook/The Music Man), LL Cool J’s “Who’s Afraid Of The Big Bad Wolf (Disney), Gipsy Kings “I’ve Got No Strings” (Pinocchio) – they also offer a Spanish guitar adaptation of Hotel California (Eagles).

While perhaps unfair to include Scott Bradlee’s Postmodern Jukebox, as the musical collective’s mission is to rework popular music into vintage musical genres, most often swing and jazz, I felt it was worth given them some representation with reinterpretations of Van Halen’s “Ain’t Talking ‘Bout Love” and Kiss’ “I Was Made For Loving You.” Here’s yet another PMJ offering with Blondie’s “Call Me.”

Blondie’s “Call Me” Gets A Marilyn Monroe Style Remake

And I thought I’d close with Jeff Buckely’s beautifully haunting, prayerful reworking of Leonard Cohen’s almost depressively brooding “Hallelujah.”

So as you contemplate the endless possibilities of reimaging parts of your life on the eve of the New Year, I hope you enjoy listening to some great songs reimagined by some very skilled artists. Happy New Year!

I hope that this music and my blog truly serve as a “revival: a new presentation of something old,” a springboard to return to the music of your youth, or perhaps to find artists you want to discover anew.  Rediscover the passion of music in your life.

Live in the moment.

Enjoy the moment.

Love the moment.

Listen to the MUSIC!

When Cannibal Corpse bassist Alex Webster sat down for the latest episode of the “100 Songs That Define Heavy Metal” podcast with Brian Slagel, he laid out a pretty relatable path: start with whatever is around the house, find the bands that hit harder, then keep chasing weight and speed until you land in something extreme.

He described that early climb in detail, starting way earlier than most people would guess for a guy best known for some of death metal’s most punishing low end: “Well, when I was really young, single-digit age or whatever, I listened to ’50s rock, like Chuck Berry and Elvis [Presley], stuff like that, records my dad had lying around from when he was a teenager, that kind of stuff, the ’50s rock.”

“But, yeah, I got into just regular rock, like The Police and stuff like that. And then, pretty much around my early teens, that was when metal came in, and then it was bands like Accept and Iron Maiden, those two in particular. And then Metallica, all the thrash bands, Metallica, Slayer, Kreator, all those bands, Megadeth, all that stuff,” he recalled (via Blabbermouth).

“And it just kind of builds up. Metalheads are always looking for the next heavier thing, or the next step forward, and everybody sort of adds to that. So I would say out of the thrash bands, death metal owes the most to Slayer. They were the band that had those kinds of lyrics. I feel like if you’re looking at a family tree, then a lot of death metal comes from the Slayer branch, in a way. And there are other bands too, for sure — Venom, stuff like that. But for us, Slayer is probably the biggest influence of the thrash bands, for sure — Slayer, Kreator, Dark Angel, bands like that,” Webster reflected.

That “family tree” idea lands because it matches how a lot of people actually discover heavy music. You latch onto a couple of gateway records, then you move the needle: faster riffs, harsher vocals, darker lyrics, until the next thing becomes normal. Webster calls out Slayer specifically because the attitude and lyrical violence were already there. For a band like Cannibal Corpse, that bridge between thrash and death metal is a direct line.

Once the conversation shifted to vocals, Webster focused less on one single inventor and more on a chain reaction: singers pushing rougher tones, then the next wave going deeper and more guttural until melody became secondary.

“I really would love it if some of the original death metal and growling kind of thrash metal singers would get together and maybe do a roundtable on the origins of this style of singing or something like that, because I think it kind of starts maybe with Lemmy [Motörhead], who was still singing — Lemmy and Cronos [Venom]; they were singing, but it was getting into a growl, but there were still melodies going on there.”

“And then you get Jeff [Becerra] from Possessed, Chuck [Schuldiner] from Death, Kam Lee from Massacre, people like that, doing something deeper, more guttural,” he added. “And then it just goes on, and on to [where] everybody ended up being pretty guttural and not really having any kind of a melody. There was a point where it was still singing, where you’re carrying a tune, and then it just really became more of a rhythmic growl. And that, I think, it kind of started with some of the really early death metal, of course, like the bands I mentioned, and then also thrash, like Mille [Petrozza] from Kreator was a big inspiration for us as well.”

Plenty of bands stumble into a sound while the scene forms around them. Webster described something more focused: the intention was there from the start, and the map was already drawn by the demos and records they were absorbing.

When asked if forming a death metal band was the goal or if it happened naturally, he said: “When we made Cannibal Corpse, that was the plan. That was 1988, so there were already death metal bands out there that we liked. We had the Morbid Angel demo, and we loved Death. Kreator Pleasure To Kill, to me, that album is sort of — at least at that time, it was very close to being death metal. Same thing with some of the Sodom albums. So when we made Cannibal Corpse, it was pretty clear that we were gonna go in that direction.”

“The band that [ex-Cannibal Corpse guitarist] Jack [Owen] and I were in before was more of a crossover kind of band where it was sort of a mixture of Kreator and D.R.I., that kind of thing. To make a long story short, we had a lot of different sounds, but we were a crossover band, that band Beyond Death, that Jack and I were in before Cannibal Corpse,” Webster mused.

But, yeah, when we made Cannibal Corpse, we were already pretty inspired by bands like Death and Morbid Angel, so we were ready to kind of get going in that direction. And it still took us a little bit of time. But I’d say by the time [Cannibal Corpse‘s 1990 debut album] Eaten Back To Life came out, we were there — you could hear, for sure, that we had thrash roots, but it was death metal right out of the gate.”

Outside the podcast talk, Cannibal Corpse also had a notable live wrinkle this past summer/fall when Brandon Ellis filled in for guitarist Rob Barrett on the band’s U.S. run. The tour kicked off September 15 in Nashville and wrapped October 22 in Charlotte, with Municipal Waste, Full Of Hell, and Fulci providing support on the trek.

Ellis had announced his exit from The Black Dahlia Murder back in February, making his appearance with Cannibal Corpse an extra point of interest for anyone tracking modern extreme metal lineups.

The post CANNIBAL CORPSE’s ALEX WEBSTER On Death Metal Evolution: “The Genre Owes The Most To SLAYER” appeared first on Sonic Perspectives.

When people talk about Opeth, the “progressive” label usually shows up fast. In a new chat with Japan’s Prog Project, Mikael Åkerfeldt got hit with a familiar question: Is it a “challenge” to stay progressive or to keep evolving when he writes for the band?

His answer cuts straight to why he treats genre tags like background noise, rather than a target.

“Yeah, good question. I’m not sure if it’s so important for me to feel that we are progressive, because I don’t really know what it means anymore. Back in the day, I think that it was easier to define a progressive band because they were mixing styles and stuff like that, but now progressive means fast guitar solos, and it’s become a sound and maybe not so progressive, “he explained (via Blabbermouth).

“I think progressive music, especially in rock and metal, has become a bit regressive. And it’s also, I don’t know if I can decide if we are progressive or not. I think it’s up to the audience to decide, but for me, it’s become less and less important to be labeled progressive because I don’t know what it means anymore.”

“But when I write music, it’s easy to, I think, make progress for our own music, because I have so many different kinds of influences and I’m very passionate about my music and stuff like that. So I try, but at the end of the day, I just wanna write emotional music,” Åkerfeldt added.

The follow-up question gets even more direct, asking if he doesn’t “think about trying to be progressive” while writing for Opeth. His reply lands like a mission statement, especially for anyone still stuck on a specific era of the band.

“No. I don’t wanna repeat myself. Many of our fans want us to maybe repeat what we did in the early 2000s, but I’m not really interested in that. I like for us to progress, but not necessarily just so we fit into the progressive rock/metal genre.”

If you’ve been around heavy music long enough, you know how this goes: fans fall in love with a run of records, then treat that sound like a contract. Åkerfeldt treats it like a chapter. He keeps the parts of Opeth that matter: identity, taste, atmosphere, but writes toward wherever his head is now, not where people want him to rewind.

One of the more telling parts of the interview is how casually he admits his listening habits run backward. Opeth pulls from classic death metal, older metal, and prog roots, and Åkerfeldt isn’t shy about the fact that his personal listening stays planted in earlier eras. When asked why newer bands rarely hook him, he lays it out in plain terms:

“I don’t know. Maybe because I don’t really listen. I don’t search for new bands. I don’t know what’s going on in the music scene. I don’t know what’s popular or what’s happening or original or progressive, to be honest. I’m stuck with my old records. And I still have so much music to listen to. So I have no idea what’s happening.”

This isn’t a new take from him, either. Back in 2017, he told Rolling Stone something that still matches what a lot of hard rock and metal lifers complain about: modern metal often sounds too cleaned up.

“I was born in 1974, so I grew up with the New Wave Of British Heavy Metal and the German scene and the U.S. scene of the ’80s and that kind of stuff, so I think today’s metal scene is a bit too sterile for my own taste. I’m not excited about a new metal band or a new metal record because I’ve tried, and most of the time, I just feel it’s just too un-metal-sounding — too polished and too streamlined to fit the genre. It’s just not interesting enough for me, you know?”

Whatever arguments people want to have about what era rules, Opeth’s current run keeps earning respect. The band was honored in the “Best Hard Rock/Metal” category at this year’s Swedish Grammis awards (the Swedish Grammy equivalent), held March 27 at Annexet in Stockholm.

The post OPETH’s MIKAEL ÅKERFELDT Explains Why The “Progressive” Mindset Matters Less Now: “Progressive Music, Especially In Rock And Metal, Has Become A Bit Regressive” appeared first on Sonic Perspectives.

Are you kidding me? It’s Christmas Eve ya deluded old man, we should be stumbling from egg nogg by now stuffed to the gills with Christmas cookies and ready to open some damn presents. Instead, you have me typing this list thing. You do know almost no one actually reads this stuff, right? I mean why not just put a camera on me and let’s have The Little Johnny Power Hour . People will tune into something cool like that. This assignment blows.      But, sure…I imagine after Beard’s trip down…

Funk maestro Michael Hampton has a new EP of instrumental guitar music out, Into The Public Domain.

Michael Hampton is a legendary guitarist, known best for his pivotal role in the iconic funk bands Parliament and Funkadelic. If you don’t already know, when you listen to him play on this record you will realize that his true peers are only the finest guitarist in the world. The name of the new album is literal. “Into the Public Domain will be released under a public-domain license, granting artists, filmmakers and marketers everywhere royalty-free usage of any and all elements of the album (save for artwork).” How about that? It is the first of three planned EPs coming your over the next many months.

There are six songs on the album and an extra, most running at radio length or briefer. “Fight Or Flight” steps in on padded feet and looks around a bit. The guitar is very surfy, and beautifully exploratory. The instruments sound almost like voices, and you can tell what they are saying by their tones. “Savanna” is more reflective than the first song, while also being exploratory. Poking about as it does. “Canyon Jam” is ninety seconds of pure joy. What a delight.

“Public Domaine” is super funky in its bones, and the lead guitar works on those edges. “Steve’s Kaddilac” runs longer than its predecessors, punching out near the five-minute mark. It has a good simmer and an irresistible way of urging you on. The non-guitar instruments have a bigger presence here, allowing the music to broaden. “Technicolor Mobile Home” is a slow walk off into the sunset. Lovely and calming.

There is also a bonus track that is “Public Domaine” remixed. It does not really add much, but you don’t need any additional reasons to buy this excellent record – and don’t forget that there is another on coming out in the spring, King Kong, so keep an eye out for that. Recommended.

Into The Public Domain came out through Sound Mind Records on Friday, December 19^th. Listen and buy at the links below.

Link.

Facebook, https://www.facebook.com/p/Michael-Hampton-100040199001670/

Sound Mind Records, https://soundmindnetwork.org/smn-records/

© Wayne Edwards

Greetings, friends, fans, and followers and welcome to the Beard’s final review of 2025. Before we begin, I want to thank those of you who have read my material. As our boss says, reading seems a stretch for people these days and they much prefer that someone just talks to them and does not require them to, you know, engage their brains.      As a result, it looks like The Beard & Little Johnny will have to head on down the road and find another vehicle to run our live show reviews. There are…

Ziege: Kadaverknast

Jæhzorn: Weiderecht

Poppy Wizard: Point & Shoot

Dungeon Keeper: Dungeon Metal Masters

Passed Out: Web of Lies

kotzschmerztablette: Die Elenden

Ch’ahom: Covered in the Priests Black Shit

Primitive Slaughter: Endless Raids

Sensu Stricto: Tower of Execution

Satanic Black Blood: Sulphuric Demonomancy

Moral Rot: why can nothing ever just be nice