(Daniel Barkasi is back with us today, presenting a collection of reviews for a variety of recommended albums released in October 2025.)
As winter approaches – it was 35 F this morning in Florida – and living amongst a sea of boxes and plastic tubs (move prep and all that), the madness for myself and our very large family of animals intensifies. A move with a farm filled with creatures is a challenge that I for one cannot wait to be done, and while we’re chipping away at it, it’s going to take a bit more time. Not in a massive rush, however, so we move forward without panic. With that, the current cooler weather in Florida has been a joy – typically chilly enough for a light hoodie in the evening, and never breaking a sweat by simply opening the house door.
The fall touring season is in full swing, with the next couple of weeks filled with so many shows that there’s no way we’ll be able to do all the ones we’d like. We did, however, just take in Ulcerate and Spirit Possession, which was a flawless evening by two exceptional acts. It certainly brought me back to June and Fortress Festival, where both performed phenomenal sets in what was an incredible experience. It was cool to see Ulcerate headline and add a few additional tracks; this being the first time we’ve seen them here in the US in 9 years, which was last at the legendary Brass Mug with Zhrine and Phobocosm.
As the time in Florida winds down, it goes to wonder if some of these shows will be our last at certain venues that we’ve grown very fond of over the years. Alas, we’ll be back to visit, no doubt, but these kinds of thoughts wander into my head more often with the impending uprooting. I know, shut up about the nostalgia and the move thing, as I’ve talked about it a lot in the recent months. Well, we do plan on covering a tour that’s coming around before we depart that we’re sure a few NCS followers will have interest in, so stay tuned for that.
With the tour schedule being a bit dense, the release calendar has been even more so, as we opined on last month. The usual down period associated with this time of the calendar is definitely not happening in 2025, with even more enticing records being announced since we spoke of it. I’ve always felt that dismissing the latter months of the year is silly and makes one’s year-end evaluation a tad skewed. It’s a fool’s errand to try to listen to every release that comes down the pike these days, but the ones that pique your interest, immerse yourself and actually give the artform the proper respect due. Music isn’t disposable content like a lot of things out there, after all.
October was packed with goodies like a kid’s trick-or-treat bucket on Halloween, as you’ve certainly seen from the plethora of works covered here at NCS. We’ve got some delicious, fresh treats for you – many of which are fittingly of the blackened persuasion – so get ready for a stomach ache of outlandish proportions from overindulgence.
Inritvm – Ex Nihilo Ad Nihilum
Release Date: October 3, 2025
Beginning with a murky cloud of hopelessness is Inritvm; a project formed by long-standing members of Haemoth and Demonium – Syht and Hth – which in my twisted brain rolls off the tongue like a certain Jim Henson-related duo of which one member is obsessed with a rubber duck. This duo, however, is in the business of making black metal with a brooding sense of despair and nihilism, with their debut album Ex Nihilo Ad Nihilum depicting an effusive statement of malevolent intent.
A dense atmosphere permeates the album, cultivated by sharp, traditional black metal tremolos and grainy discordance. Those sounds as they’re packaged together results in a menacing, horror-tinged soundscape; “The Principles of Forfeiture” showcasing Inritvm’s resolve with mangled precision. A fitting sample from the film Pitch Black about belief in God concludes the entry with a stirring symphonic piece to further drag the listener into the depths.
The pacing from here varies, while the album’s personality becomes all the more unique. “Falling into Emptiness” takes its time to unravel, slowly yet purposefully, offering a layered and monolithic experience. This vision is central to the feeling that Inritvm is after, becoming more unpredictable and disharmonious as Ex Nihilo Ad Nihilum progresses. A composition of ebbs and flows, cuts such as “Antimatter” and “Inexistent Remains” equate to a rumbling full-frontal assault of the senses, cutting like a sharpened blade, transitioning to the black hole of unavoidable calamity that “Vacuum Vortex” and “From Nothing to Nothingness” respectively effuse.
The usage of more quotes and samples that bookend select songs serve to dial up the existential dread, from ominous Jacob’s Ladder samplings on “Vacuum Vortex” before unleashing a hellish beast upon your hapless self, to Rust Cohle of True Detective laying one of his best quotes, the implementation adds to what the band are wanting to portray rather than detract. Not a choice made by many of their ilk, but if a band is ever so inclined, take note, as this is how to do so in order to successfully meld with the character of the music.
Ex Nihilo Ad Nihilum is not an album that you merely listen to, but rather, you experience it, in all of its violent, cold, and unmistakable essence. Inritvm have spawned something powerful here; a journey that’s difficult to forget. Not that we’d want to, or could.
Angrrsth – Złudnia
Release Date: October 10, 2025
It’s been a fine year for Polish black metal, and the next album from Angrrsth is one of the more captivating and surprising that these ears have come across in this cycle. Having a modern yet utterly unhinged take on black metal, the band put out a fine debut in Donikąd in 2021 that punched above its weight. With the follow-up Złudnia, the ante has been upped in what is a carefully constructed and sharpened scythe of a black metal record.
A comparison with Blaze of Perdition and Panzerfaust wouldn’t be off the mark, though Angrrsth delve into the melodic side more often. Explosive guitar-driven bonanzas such as “Kolejna pętla” and “Amor Fati” give Grisch a platform to put his standout swirl of clever riffs and melody-infused yet disconsolate leads on full display, where the melodic and bruising “Mane, Tekel, Fares” and “Złudnia” bring a steadfast and ripping approach to the forefront.
Moreover, the album connects seamlessly when viewed as a singular piece of music, each entry providing a continuity with the track previous. The finale “Widziałem go” leaves on a memorable, attention-raising note, knowing when to pull back and when to go full bore.
Vocalist Hermann earns high marks for his varied delivery, whose growls ooze with power, where his contrasting cleaner voicings add a certain mystical quantity. Furthermore, drummer Jakub Wieczerzycki is formidable in his presence throughout, and when combined with bassist Bartłomiej Sielski’s thumping lines, Angrrsth go into another gear of robustness.
Złudnia is a deceptively smart and brilliantly composed record by a band whose name will hopefully be heard by many more by way of the quality of this second full-length. Angrrsth are here to stay, ready to take the black metal universe by fiery storm. You are not prepared.
Hæresis – Si Vis Pacem Para Bellvm
Release Date: October 10, 2025
Post-black metal is a dirty word to some, and for yours truly, it all resides in the raw emotion and passion behind it. The sort that drift aimlessly with no grit don’t make it for these ears, but those with a thick, pulsating fury within the carefully laid out progressions hit a sweet spot that most other amalgamations do. Germany’s Hæresis accomplishes this goal, and beyond, by way of their long time coming debut LP Si Vis Pacem Para Bellvm.
Capturing thematic fury against oppression and senseless war, Hæresis have a well-prepared lyrical purpose, and the band’s musical expression is there to meet it. What we have is a volatile, angry, relentless record that bares all to witness within four massive affronts. “Echoes of Ashes” wastes zero time pummeling by way of a steely wall of guitars, giving a heavier side of Downfall of Gaia meets Mephorash-like grandiosity. The impact of the rhythm section pulsates without caution on the entirety of Si Vis Pacem Para Bellvm; drummer M.S. and bassist L.C. put in the work, and the fruits are bountiful – this opening track promptly and prominently displays their vital contributions.
Vocalist C.G.’s rapturous screams slice through the mix, adding that extra layer of rancor that’s needed in this approach that other contemporaries often miss. Additionally, there’s an emotiveness to her voicings, increasing the magnitude of their music to an outright infectious stratosphere. “I Who Repel All Light” stands out as a defining performance, shaking the foundations of the listener’s psyche by way of an organized chaos and overflowing zeal.
Guitarist duo of I.C. and D.R. play off of each other with deft skill and fierce energy, balancing the overwhelming rhythm work and the focused, ringing lead play that make Hæresis tick – the latter half of “I Who Repel All Light” and the unrestrained “Eradicate Taciturnity” notably display their potent variety of skills.
Hæresis‘ overall sonic profile is a black metal steamroller with a lot of thought, precision, and genuine rage behind it; a dangerous and irresistible combination of traits. Having honed their craft for nine years to get to this point, Si Vis Pacem Para Bellvm is the result of a band who have worked extremely hard to get to this moment, bestowing upon us a record that leaves an imprint that will be near impossible to shake. This album was played a lot in leading up to this writeup, and that isn’t likely to change.
Heteropsy – Embalming
Release Date: October 31, 2025
We’ve arrived at the death metal portion of the month, and we’ve got a doozy in store. Having been releasing teasers of sorts on a once-per-year clip since 2020 (four EPs and a split), Japan’s Heteropsy have been bubbling under the surface, waiting for the time to unleash their full-length debut. That time is here in the mangled form of Embalming, and while they heartily embrace forefathers such as Dismember, what they’ve manifested is a differing brew of unnerving.
If cover art can be a tone setter, this is it – we have no idea who created this piece, but it’s the sort of mystical, bloody manifestation that visually fits what’s coming out of the speakers. This is death metal at its deep core, evidenced by the stomping riffs and the chainsaw Boss HM-2 tonality, but there’s a hint of doom and psychedelia that permeates, making the resultant more of their own design.
“Pandemonium Alter” smacks you with larger-than-life riffs, injected into inventive, difficult to pin down songwriting, amounting to both a gory impalement and a trance-inducing haze. “The Sodomizer” drags forth in a slow-to-mid paced crunch; “Memento Mori” exudes a reflective-yet-brutalizing air, giving the listener enough deviations to keep Embalming markedly engaging.
Variety is the spice of life, and Heteropsy have quite the full cupboard. Evil, grotesque death metal – “Seventh Damnation” has you. A serving of doom with your death – “Asphyxia” delves into Asphy -adjacent (irony in name, yes) territory whilst allowing their personality to show, especially as the tempo transitions around the 2:35 mark, traversing avenues we didn’t see coming, rolling into a gallop leading ultimately towards a maniacal, dizzying flattening. Winding and meticulous, closer “Old Friends” puts all of Heteropsy’s flavors into the concoction, dishing out a bowl full of all of the above, with a few additional tastes, of course.
Heteropsy is refreshing in the current time of tired, lowest-common-denominator death metal getting significant buzz, proving that truly ghastly, expertly written music is out there, if you know the right places to look. Embalming raises the hairs on your neck and then shreds you to pieces. This Tokyo-based ensemble gets it, and with any hope, their recognition will only grow from here.
Malakhim – And In Our Hearts the Devil Sings
Release Date: October 31, 2025
If early to mid-’90s melodic black metal with some snarl gets the dopamine flowing, Malakhim has proven to be more than reliable, with a steady build that led to their 2021 debut album Theion, which proved to be a fine example of the aforementioned style. Having Naglfar’s Andreas Nilsson slinging riffs doesn’t hurt their pedigree, either, and now coming to album number two in And In Our Hearts the Devil Sings, the whole package has been tightened up to provide an even more ubiquitous offering to the desolate one.
Thematically based on the Yetzer hara, a Hebrew term used to symbolize man’s aptitude to perform evil deeds, Malakhim have taken an intriguing pathway to their orthodox black metal styling. Musically, there aren’t any significant shifts from Theion, but the whole is more in focus and poignant. With the guitar work being of particular focus, the engine of the group has additional heft in both tone and impactfulness of the riffs that stand at the forefront.
A rousing start by way of the title track engages in a slight uptick in brooding melody, along with incisive, sturdy riffage, and sets the bar of expectation high. The guitar work of Nilsson and counterpart AK strikes deeply and doesn’t pull back on the throttle, whereas vocalist E flexes strength and versatility within sharp roars and ritualistic wails. “Solar Crucifixion” continues blazing an infernal trail of enterprising melodic black, harkening a consistently dark and forthright methodology that permeates every note of And In Our Hearts the Devil Sings.
As for the pacing of the record, Malakhim know when to allow a modicum of air when appropriate, but it’s a predominantly blistering and ruthless experience. “A New Temple” and “Into Darkness We Depart” epitomize this notion, shredding away with diabolical spirit. “Hearts Ablaze” emits a ceremonial vibe, reeking of ominous wrath, inexorable and rapturous. A standout track amongst an album full of them.
Though this statement is clichéd, it applies: Malakhim have presented their finest yet in And In Our Hearts the Devil Sings. Alluring as it is vehement, there’s plenty to enjoy in what’s presented, and if that classic melodic black metal styling invokes a comforting feeling, Malakhim is absolutely a band not to sleep on, with their latest being a resolute achievement.
One of Nine – Dawn of the Iron Shadow
Release Date: October 31, 2025
We finish up staying on the melodic black metal track, but of an almost entirely different persuasion. One of Nine, whose name refers to the Dark Riders / the Nazgûl in Tolkienian lore, one can easily surmise what the subject matter of their music is going to be. Not an uncommon theme in the black metal realm, but amongst the current crop of active bands, they’ve quickly proven to be preciously proficient (can’t help myself). Their debut Eternal Sorcery turned many heads, and the followup Dawn of the Iron Shadow has been anticipated by Orcs, Elves, Hobbits, Dwarves, and Mankind alike.
The easiest connection comparatively for US-based black metal with similar theming is doubtlessly Stormkeep, though they delve deeper into dungeon synth and are a little more whimsical, where One of Nine have been more direct and caustic. Once the intro track has set the mood, “Age of Chains” kicks into full blazing glory. The usage of haunting bells mixed with fiery tremolos and rapturous roars functions extremely well, and overall, this song and the album as a whole have a more majestic and lofty ambience. One of Nine haven’t jettisoned their punch, mind you – that’s doubtlessly retained, and in many instances, enhanced and more piercing. The group have simply further experimented sonically, expanding with increased usage of keys, choirs, and other nuances, while importantly not eschewing their fundamentals.
Spacious swaths of keys infiltrate the steely, melodic black guitar affront with regularity; “Dreadful Leap” includes a brief instrumental passage in the center of a honed and catchy, concentrated incursion. “Of Desperate Valor” utilizes choir-style vocals in the back of the mix and acoustic pieces to turn up the mythological Middle Earth sort of audible storytelling that One of Nine jump headfirst into, with “Behold the Shadow of My Thoughts” utilizing similar elements ingrained with a more despairing emphasis.
For an exuberant yet downtrodden expression, “Quest of the Silmaril” executes this notion admirably, using downtrodden keyboards and slick, tantalizing lead guitar movements that’ll stick in the head. The final chapter of Dawn of the Iron Shadow comes in the form of “Death Wing Black Flame”, and by the overarching audible motif of the record, a smooth yet coarse composition is provided. The gorgeous solo beginning at 2:22 is especially enthralling, leading to a conclusion equally pensive as it is tense.
One of Nine have noticeably broadened their soundscape, further establishing themselves as a solitary phenomenon. Therein lies the key to what makes Dawn of the Iron Shadow so effective; while there’s familiarity, there’s also an exciting, fresh path blazed. True that the record isn’t as forthright and turbulent as Eternal Sorcery, but the evolution One of Nine have undertaken has resulted in a more refined, compelling record that continues to embrace that trenchant melodic black metal spirit amongst their literature/fantasy based thematics, ultimately making Dawn of the Iron Shadow an indelible, engrossing effort.
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