AMG’s Unsigned Band Rodeö: Nephylim – Circuition

By Dolphin Whisperer

“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

Oranjeboom, a low-frills lager, holds little love in its home country of the Netherlands, so much so that its production there was discontinued until only recently.1 Why does that matter? It really doesn’t, but it is a fun fact about the Netherlands and a beer synonymous with their lineage. Nephylim hails from the Netherlands too, and, with any luck, their brand of big scope, big sad melodeath will stake a claim that lands with bolder flavor. Over the past ten years, this five-some has cut an EP and a full-length through their own determination. And now, with this sophomore follow-up Circuition, Nephylim may just be hitting their stride. Or, at least, our Rodeö crew seems to think so. Crack open a cold one and sip on riffy sadness. – Dolphin Whisperer

Nephylim // Circuition [March 7th, 2025]

Steel Druhm: Sometimes when you press play on a Rodeö candidate, you wonder why they aren’t signed because they sound so polished and professional. Such is the case with Dutch melodeathsters, Nephylim, and their sophomore opus, Circulation. Taking cues from Ominium Gatherum, Be’Lakor, Enshine, and the more progressive works of Edge of Sanity, Nephylim voyage across various styles of melodeath but always keep things anchored firmly in the Wheelhouse of Steel. After a beautifully regal instrumental opener, Circulation heats up on “Travail Pt. 2 – Animus,” which is like a glowing distillation of Wolfheart and Be’lakor with a seriously epic vibe coursing through it. The guitars riff, trill, and shimmer with a Tuomos Saukkonen-esque flair as grand orchestrations amplify the sound to herculean proportions. It’s the beast of death metal with the beauty of melancholic music, and this style has a proven appeal. I love the majesty of “Grand Denial” and the hints of Dark Tranquillity woven throughout, and the title track bears traces of Dan Swanö’s Moontower and Tomi Joutsen-era Amorphis as it seamlessly melds heavy and sadboi moments. Unfortunately, not every cut hits with the same soul-searing slash of wintery pathos. “Amaranth” is a bit too generic and pedestrian, and though “Withered” does some things very well, the writing is a touch less compelling. Elsewhere, closer “Inner Paradigm” feels like something from the later eras of In Flames, not bad, but less impactful. At thirty-eight minutes, there are bits of bloat scattered around, but nothing that’s fatal if swallowed. There’s a lot to like about Circulation, and I’m left still wondering why Nephylim aren’t signed. With this much potential, they should be! 3.0/5.0

GardensTale: From two live shows, I already knew Nephylim were good. I could not have anticipated what a masterclass Circuition would turn out to be, though. Combining the maudlin symphonic details of Fires in the Distance with the melancholy hope and impeccable composition of Countless Skies is no easy feat, but the songwriting has taken a giant leap forward. Circuition is absolutely packed with beautiful melodies, addictive hooks and enticing cascades. The flow is downright brilliant, such that even after a dozen spins, I find myself glued to the speaker in anticipation of the next stanza, the next riff, the next solo. These are linked together with transitions that are set up and knocked down perfectly, helping every track rush past in spiraling eddies like white water rapids after heavy rain. “Circuition” yanks the heart-strings the hardest; follow-up “Withered” has a more basic structure, but the amazing harmonies and powerful solo make it a standout anyway. Cherry on the cake is the top-shelf production, with meticulous mastering and a balanced mix. The sparse clean vocals aren’t great, just okay, and a few tracks end a little more abruptly than I’d like, but these are small bumps on an engaging journey that begs to be spun again and again. 4.0/5.0

Kenstrosity: Dutch sadboi melodeath quintet Nephylim graced my Bandcamp feed a few months back. I was intrigued, but did not bite. At least, not until our Kermity GardensTale recced it for Rodeö duty, at which point I dove straight in. Embodying a wondrous merging between Countless Skies, Fires in the Distance, and a light touch of The Drowning, sophomore effort Circuition garnered instant adoration from this sponge. A rarer feat, Nephylim’s latest only deepened its hold on my heart, as the opening “Travail” suite enamored with epic soars of melody, crushing riffs that ground the piece in deathly gravity, and emotive roars that shake the roots underfoot. “Amaranth” doubles down on that palpable momentum, bringing forward a fun factor that belies Circuition’s introspective character. Beautiful synths and keys dot the landscape just above that metallic verve and swinging rhythm, evoking something inherently mystical while still operating within the bounds of the human spirit (“Circuition”). As the potent pull of songs like “Grand Denial,” “Withered,” and immense closer “Inner Paradigm” continually challenge my perception of what constitutes a highlight, I find myself universally immersed, committed, and compelled by Circuition. Experiencing this, as much as I pine for new material from those great acts that Nephylim remind me of, I know in my soul that Circuition is one of 2025’s foremost contenders. Great!

Maddog: When Fenrir finally closes the curtain on 2025, Nephylim’s Circuition will be one of my few fond memories of this disastrous year. This hidden melodeath gem triumphs by embracing simplicity without stagnation. No one would argue that Nephylim’s guitarists stretch the limits of human dexterity. And yet, as Circuition buried my ears in riffs upon riffs, it dragged me into its orbit. Blending the classic stylings of Dark Tranquillity with the modern touch of Æther Realm, Nephylim won me over through its irresistible energy. While I initially fell in love with merely a couple of its songs, Circuition’s consistency unveiled itself over time. Indeed, while the closer “Inner Paradigm” was initially my least favorite song, its Shadows of the Dying Sun riffs and its somber ending have made it a highlight. Despite its consistency, Circuition’s mood changes keep it fresh. The fantastic midsection of the album progresses from gargantuan riffs (“Grand Denial”) to tear-jerking Enshine melodies (“Circuition”) to explosive choruses (“Withered”). Circuition is textbook, but it’s both a thrilling spectacle and an emotive powerhouse. Every piece is essential, and every piece is distinctive. 4.0/5.0

Killjoy: The term “Nephilim” in the Hebrew Bible is often translated as “giants” in English. Accordingly, melodic death metal band Nephylim does everything big. Riffs? Big. Rumbling death roars? Big. Thunderous rhythm section? Big. Circuition feels like a highlight reel of the serious and somber side of melodeath, with each individual song bringing something unique to the table. “Travail Pt. II – Animus” embellishes the somber intensity of Insomnium with delicate piano keys reminiscent of Fires in the Distance and heaps of symphonic bombast. The suspenseful drum beats which introduce “Amaranth” organically build excitement by layering on bass and then guitar lines before releasing the pent-up energy with a furious snarl and fiery riffs. But there’s also a tender side to Nephylim; “Circuition” adopts a melancholic and folk-tinted mood laced with deep, beautiful croons, all of which I associate with Vorna. Circuition is considerably more ambitious than Nephylim’s debut, but they never let their ambitions spiral out of control. If anything, I’d like to see them continue to develop their symphonic side that they teased in the first two tracks. Although I find the last third of the record ever so slightly less engaging, I can endorse all thirty-eight minutes of Circuition as worthy of your time. 3.5/5.0

#2025 #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #ÆtherRealm #BeLakor #Circuition #CountlessSkies #DarkTranquillity #DutchMetal #EdgeOfSanity #Enshine #FiresInTheDistance #InFlames #IndependentRelease #Insomnium #Mar25 #MelodicDeathMetal #Moontower #Nephylim #OmniumGatherum #ProgressiveDeathMetal #SelfRelease #TheDrowning #Wolfheart

Arch Enemy – Blood Dynasty Review

By Dolphin Whisperer

Incepted as an offshoot of Carcassian lineage, early breakout albums Wages of Sin (2001) and Doomsday Machine (2005) spread like wildfire in the emerging world of digital accessibility. In particular, clips from the 2006 DVD Live Apocalypse, popped around early YouTube further quenching the thirst for the powerful live performances that the once ravenous act possessed—at least that’s my memory of how the melodeath-leaning Swedes came to be a global powerhouse. Arch Enemy’s current incarnation does not lack stage-ready talent, of course—professionals thrive on the tour. The still vicious Alissa White-Gluz (ex-The Agonist) and youthful shredder Joey Concepcion (ex-Armageddon,1 ex-The Absence) round out the strength of time-tested veterans. But with the hunger of success so satiated, what left does Arch Enemy have to fuel their 12th album, Blood Dynasty?

Succeeding primarily on the flash of sticky songs and not engrossing albums, Arch Enemy has little reason to play anything more than a bit of what their fans want and a bit of what they want. In this sense, founding guitarist and primary songwriting contributor Michael Amott feeds off of his second guitarist for energy. While Nevermore shredder Jeff Loomis2 is far from a slouch on the fretboard, his histrionic contributions seemed to follow Arch Enemy down a path of slower builds, chunkier riff platforms, and moodier atmospheres that didn’t always gel with the typically brighter appeal that cemented their lofty status. Particularly on 2022’s preceding Deceivers, the pace had grown so slow that getting to any of blistering guitar heroism—whether from Amott or Loomis—felt like a chore.

In fresh character Concepcion’s ’80s tinged trades with Amott bring a lot to the Blood Dynasty table, with Arch Enemy breezing through certain tracks with the fanciful flair of guitar pyrotechnics. Early cut “Dream Stealer” brings with it a Judas Priest-indebted whammy-to-meltdown solo tirade that highlights the axeslingers’ chemistry well. And later cuts “Don’t Look Down” and “Blood Dynasty” lead with the synth-boosted, mid-paced power/melodeath fist-pump that you’d hear in a galloping Kalmah or late era Dark Tranquillity piece. Truthfully, though, Blood Dynasty’s biggest hit, in its soulful and faithful cover of olde French heavy metal act Blaspheme’s “Vivre Libre,” comes when Arch Enemy, quite literally, is not trying to be Arch Enemy at all, White-Gluz eschewing any harsh vocal stylings for a gruff and joyful croon. But this kind of fun feels right in a late career album—quick hitters loaded with light-hearted riffage and falsetto wails (“A Million Suns,” “Paper Tiger,” respectively)—and a full load of it could have spelled well for Arch Enemy decriers.

However, true to the typical Arch Enemy experience, a number of songs still exist in the too familiar or too uneventful realm that weigh down the whole of Blood Dynasty. There’s an irony to the theme of “March of the Miscreants,” a festival-ready machination—complete with a bridge ready for “Hey! Hey! Hey! Hey” call and response—about how the underdog can’t be sold and can’t be bought, an ethos that doesn’t sit well while listening to one of the largest metal bands in the world. And between that conundrum, the alternative rock anthemics of “Illuminate the Path,” and the only slightly deathened power metal romps that close the journey (“The Pendulum,” “Liars & Thieves”), Blood Dynasty trips over its most cohesive and swaggering elements to pump out tunes that feel rollicking enough to appeal to fans of modern acts like Unleash the Archers or Frozen Crown without letting harsh vocal moments steer them too far astray. White-Gluz has a diverse and practiced voice that ensures that none of these detours ever sound unpleasant, but the frequent urge to skip these painted-with-broad-strokes cuts persists.

Arch Enemy has nothing to prove at this stage. Blood Dynasty holds a higher than expected percentage of fun-inducing tracks that should serve plenty for long-time fans—high bombast, easy-to-digest, chorus-loaded, melodic death(ish) metal. At its most offensive, Arch Enemy simply delivers repeatable words and over horns-up riffs that act as heavy metal placeholders, recognizable as aggressive noise but built to blend in. For those just dipping their toes into the world of amplified abandon, this less extreme endeavor may even be preferable, a shareable, attainable badge of honor. But if your coworker recommends you Blood Dynasty, you can likely blow their mind with something better.3

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media | Bandcamp
Websites: archenemy.band | archenemyofficial.bandcamp.com
Releases Worldwide: March 28th, 2025

#25 #2025 #ArchEnemy #Blaspheme #BloodDynasty #CenturyMediaRecords #DarkTranquillity #HeavyMetal #JudasPriest #Kalmah #Mar25 #MelodicDeathMetal #Review #Reviews #SwedishMetal

Thy Kingdom Will Burn – The Loss and Redemption Review

By Dr. A.N. Grier

Scarlet Records have been around for some time, quietly snatching up every power, symphonic, and corset-core outfit in Italy. Why are there so many of these acts in a country of its size, you ask? I-a have-a no idea-a. So, it was a great surprise when I picked up this rando from their label, neither Italian nor any of the aforementioned genre abominations. Thy Kingdom Will Burn hails from the frozen wastelands of Finland and plays sad-boi melodic death metal. Like neighboring melodeath elite, Thy Kingdom Will Burn sports the genre standards of bands like Insomnium and Dark Tranquillity while tapping the vein of old-school At the Gates. Don’t expect any new directions or genre-shaping songwriting decisions, but they’re solid at what they do. Having only released LPs since 2021, it’s surprising (and maybe a little scary?) that The Loss and Redemption is the band’s third album. Regardless, this little prolific band is here to shed tears, shred balls, and possibly recruit a new fan.

One thing that can be said about Thy Kingdom Will Burn is that they are an acquired taste. Not in a negative way because there are plenty of bands like that. But, many of the transitions between gruffs and cleans can be jarring at times, though the diversity is pleasing with the different flavors of cleans. If you dislike the forced gruffs of Trivium’s Matt Heafy, you’ll have some difficulty here. They aren’t identical but it’s pretty damn close. That said, they’re good at writing passionate, melodic pieces. The band continues to find their voice and The Loss and Redemption is their best record yet. So, get the tissues ready, stretch that neck out, and prepare for things you’ve heard before that still might have you wrinkling your brow.

“Perpetual Void” is a strong song from the band and a great way to kick off the album. It incorporates many of the individual techniques you’ll hear throughout the album but into a single song. Opening with a melodic introduction, it settles into a groove before those previously mentioned snarls hit the ears. As the track rises and falls, building the atmosphere, we find a gentle, bass-led passage that precedes the erupting, memorable chorus. In six minutes, you’ll traverse passionate sections, happy-go-lucky interludes, and a stargazing chorus that grows stronger as it goes. “Sydänyö” bookends the album by taking elements from the opener and emptying the pantry. While the song swirls in and out of melodic passages, using clean guitars to set the mood, it also includes one of the band’s heaviest riffs. Toss in some folkiness, orchestration, and piano to offset the concrete-cracking drive of the song, and your heart will ache as much as your head will bang.

By the time you get to the closer, you’re used to the folky elements of The Loss and Redemption. But, I was not prepared for the extent of it in “Obscure Existence.” It’s great, and I love it. But coming off “Perpetual Void,” I did not expect the folkery and upbeat gallop that eventually transitions into some Dark Tranquillity territories. This song is also the first introduction to the album’s piano usage, which is quite pleasing to the ears. These surprises kept me inspired enough to spin the album again. However, some surprises do not work. Case in point, “Forever in Dark.” This gorgeous song didn’t deserve the spoken-word segments that derail the beautiful flow and heart-wrenching chorus. That said, the build and final iteration of the chorus is worth it—even if I cringe with each spoken-word interlude that corrupts its beauty.

There are plenty of other highlight moments in The Loss and Redemption, but not everything works in the confined structure of a song. “Martyrs of Killing Floor”1 has a lot of promise, but with all its mood shifts and bizarre lyrics, I’m left waiting for it to end. “Suffering Sky” has its moments but drags on too long and the chorus is boring. Dropping this track would have helped the flow and omitted almost six minutes of the album’s nearly fifty-minute runtime. All in all, The Loss and Redemption sees Thy Kingdom Will Burn continuing to grow as a band. The songwriting is their strongest, but most sinks only hold so many dishes.2 If the band can reel in some of the chaotic qualities of their song structures, Thy Kingdom Will Burn could be a strong contributor to the melodeath world. While Scarlet Records needs to send me some 320 kbps promos, the dynamics of this record are lush, letting you hear nearly every instrument and the individual orchestral elements. If you like melodeath, you might find something worthwhile in The Loss and Redemption.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 256 kb/s mp3
Label: Scarlet Records
Websites: thykingdomwillburn.bandcamp.com | facebook.com/thykingdomwillburn
Releases Worldwide: January 17th, 2025

#2025 #30 #AtTheGates #DarkTranquillity #FinnishMetal #Insomnium #Jan25 #MelodicDeathMetal #Review #Reviews #ScarletRecords #TheLossAndRedemption #ThyKingdomWillBurn

The Halo Effect – March of the Unheard Review

By Steel Druhm

It seems like only yesterday I was writing about a supergroup helmed by Mikael Stanne of Dark Tranquillity fame. That’s because I just covered Cemetery Skyline, his Goth rock project that dropped the very successful Nordic Gothic release late last year. Now in the blink of a Mind’s I, he’s back with the sophomore outing from The Halo Effect. This star-studded collective features various past members of In Flames. It’s essentially a salute to the early days of the Gothenburg sound, with an approach that conjures nostalgia of the glory days of both Dark Tranquillity and In Flames equally. This formula largely worked on 2022s Days of the Lost, and it works again on March of the Unheard. Part of that may be the enduring appeal of the core sound, but a lot of it comes from the sheer talent and charisma of the assembled cast. Aiding in the charm offensive, there’s a greater incorporation of traditional metal ideas and influences this time out, as well as more consistently interesting songsmithing. This makes what could have been a yawner of the throwback album something just a bit more compelling.

If you need an elevator pitch for what to expect here, think Fiction / We Are the Void era Dark Tranquillity meets Whoracle era In Flames. On paper that seems enticing and in practice it works quite well too. Opener “Conspire to Deceive” reminds me why I fell for the Gothenburg sound back in the early 90s. Stanne is his usual badass self, utterly comfortable in his melodeath growls and barks as melodic but crunchy leads and polished, glossy harmonies envelope him. The guitar work by Jesper Strömblad (Ex-Hammerfall, ex-In Flames) and Niclas Engelin (ex-Gardenia, ex-In Flames) is bright and shiny, full of melodic noodling but girded by meaty riffs. It reads more like a DT cut overall and that’s just fine by me. “Detonate” is just a fun, rocking dose of melodeath that belongs on your cardio playlists toot sweet. It’s uncomplicated and catchy and Stanne owns the hooky chorus. “Our Channel to the Darkness” is very much a DT creation at its core, thrashy, punchy, dark and regal. This could appear on any DT album from Damage Done to We Are the Void and be right at home. The riffs have bite and aggression and Stanne sounds extra venomous.

I’ll admit I kept waiting for March of the Unheard to go off the rails and become stale and boring. The strength of the album’s first half surprised me, but what really got my goat was how consistent all the material is. Tracks like “Cruel Perception” and “What We Become” offer melodeath fans all they could want, and later cut “Forever Astray” marries DT’s cold, sterile aesthetic with gleaming and glorious guitar harmonies for a rousing ride as Stanne throws in some effective clean singing for extra oomph. “Between Directions” drills down into DT’s frigid sound and again nails the clean bits for maximum maximumness. Only the inclusion of a relatively bland mid-album interlude and a long and unnecessary symphonic/folksy instrumental closer mar what is a very enjoyable romp through the salad days of Swedish metal. At 48-plus minutes, the album feels a touch too long due to the instrumental padding, but it’s still easy enough to spin. The sound and mix are fine for the material, with enough meat on the guitars and allowing Stanne enough room to shine.

Speaking of which, Stanne continues to be a legend in the melodeath universe and he’s aging like fine wine. He adds +2 to every song he graces and the man is a boon to whatever project he touches. His always expert delivery is enhanced by the solid and polished guitar work from Strömblad and Engelin. They split time mining the main acts of the members for inspiration, but they also bring in bits and pieces of Omnium Gatherum and Insominum and add subtle nods to the NWoBHM as well. It’s melodeath made for those of us who were there at ground zero in the 90s and offers nothing new whatsoever. That’s okay though when the writing and execution is this solid.

You can appreciate March of the Unheard as a lost Dark Tranquillity album or as a slick homage to a specific moment in metal history and it works well both ways. This is a superior album to Days of the Lost with a much greater replay potential and I’ve been surprised by how vital and fresh much of it is. Remove the instrumental flab and this clicks up to very good. Not bad for a bunch of olde dawgs retreading their own ancient stomping grounds. Here’s to the olden ways in these confusing modern days.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Nuclear Blast
Websites: thehaloeffect.band | instagram.com/thehaloeffectse
Releases Worldwide: January 10th, 2025

#2025 #30 #DarkTranquillity #Gardenian #Hammerfall #InFlames #Jan25 #MarchOfTheUnheard #MelodicDeathMetal #NuclearBlastRecords #Review #Reviews #SwedishMetal #TheHaloEffect