Prepare to Have Your Mind Blown: October 2025’s Metal Scene is a Wild Ride!
Metalheads, gather 'round! This month’s Bandcamp offerings are a treasure trove of sonic adventures, from the hauntingly introspective to the brutally relentless. But here's where it gets controversial: can a band truly innovate while staying rooted in their own history? Yellow Eyes, the enigmatic New York black metal duo, seems to think so. On Confusion Gate, brothers Will and Sam Skarstad dive deeper into their self-contained universe, crafting a record that’s both a shadow companion to 2023’s Master’s Murmur and a bold step forward. Their music, born from rural isolation and laced with ghostly field recordings, demands repeated listens to unravel its complexities. Yet, it’s this very inscrutability that makes them one of metal’s most unique voices. And this is the part most people miss: by synthesizing non-metal influences with their signature haunted melodies, Yellow Eyes has built a sonic universe that’s as rich as it is insular.
But wait, there’s more! After a 32-year hiatus, Swiss thrash legends Coroner are back with Dissonance Theory, a record that feels both nostalgic and refreshingly modern. Guitarist Tommy Vetterli’s mastery shines through, blending technical prowess with sharper-than-ever hooks. Is this their catchiest album yet? Absolutely. But does it lose the thrashy, idiosyncratic edge that made them greats? Not a chance. Controversial take: Coroner’s comeback proves that sometimes, the old dogs can outrun the new pups.
Belgium’s Wolvennest takes us on a 75-minute occult journey with Procession, a hypnotic blend of doom metal and 1970s horror movie atmospherics. Led by the powerhouse vocals and theremin of Shazzula, the album is a masterclass in balancing epic scale with disciplined songwriting. But here’s the question: can an album this atmospheric still pack a punch? Wolvennest says yes, and they’ve never sounded more confident.
Now, let’s talk politics and punk. Terzij de Horde’s Our Breath Is Not Ours Alone is a strident call to collective action, cloaked in black metal’s raw intensity. With blast beats, tremolo riffs, and vocalist Joost Vervoort’s scabrous bark, the album is a sweat-soaked outlier in modern black metal. But is their blend of myth, metaphor, and direct sloganeering too much for some listeners? Or is it exactly what the genre needs? You decide.
New Jersey’s Evoken returns to their darker roots with Mendacium, a concept album set in a 14th-century monastery. John Paradiso’s gritty guitar tone and Vince Verkay’s crushing drums create a miserable (not sad!) atmosphere that’s as unrelenting as it is captivating. Controversial interpretation: Evoken’s misery is the antidote to an overly polished metal scene.
Minnesota’s Morke reinvents themselves with To Carry On, transitioning from gloomy atmospheric black metal to sun-dappled “castle metal.” Eric Wing’s melodic sensibility shines, and with Obsequiae’s Tanner Anderson on board, the album feels like a medieval tapestry brought to life. But is this shift too bright for longtime fans? Or is it a brilliant evolution?
Japan’s Barren Path delivers a grindcore knockout with Grieving, a 14-minute debut that’s as punishing as it is technical. Guitarist Takafumi Matsubara’s precision elevates grindcore to an art form, but is there room for melody in this brutal subgenre? Barren Path says yes, and it’s glorious.
Finally, Umulamahri’s Learning the Secrets of Acid is a chaotic fusion of brutal death metal and industrial minimalism. Andrew Hawkins and Doug Moore create a deliberately unsettling record that’s as frustrating as it is fascinating. But here’s the question: is this avant-garde experimentation genius or just noise? Let’s debate it in the comments!
What’s your take? Which of these albums pushes the boundaries too far? Which one redefines its genre? Let us know in the comments below—we want to hear your thoughts!
