(Andy Synn kicks off “List Week” a little early with a round-up of all the EPs he’s checked out this year)
All going to plan today is Friday 05 December, which means that tomorrow I’m heading to Switzerland for a mini-honeymoon (the proper one will be sometime next year).
Don’t fret though, as while I won’t be “physically” around the site as much I’ll still be taking over NCS entirely next week to publish my annual lists of everything I’ve listened to (enough to have formed a solid opinion, at least) this year, beginning with the “Disappointing” albums on Monday, then the “Good”, “Great”, “Critical Top Ten”, and “Personal Top Ten” (in that order).
Before then, however, I wanted to round-up all the various EPs (and related short-form releases) I managed to get in my ears this year (more than last year, I think, which is always nice), which also includes – at the end of the article – my personal favourites of the year.
As always you’ll find links to stream every single release here – which, I suppose I need to stress, is not in any way a definitive list! – so hopefully at least some of you will have the good sense to bookmark this page and spend some time over the next couple of weeks checking out some very deserving bands!
I’m going to start things off by acknowledging not one, not two, but three killer EPs by Arizona-based anarcho-death-thrashers Transgressive, all three of which were on my initial short-list for my personal top ten.
And while it’s pretty much impossible to choose a favourite – Not Like This is the most substantial of the three releases, so would seem like the obvious choice, but the fact is that the title-tracks of both Remember Us to Death and Never Go Quiet are among my favourite things the band have ever done (and I loved their debut album, which should tell you something) – I can definitely say that the group’s second album (set for release next year) can’t come soon enough (PS – can I have a guest spot on it?).
Several of the bigger and/or more infamous Metal names also put in some fine work of the short-but-sweet variety this year as well, with the legendary Amenra also dropping a pair of excellent EPs in the form of De Toorn and Fang and Claw, while long-time NCS favourites Panopticon and Krallice delivered us the excellent The Poppies Bloom for No King and No Hope (respectively).
On the more genre-specific side of things, those of you looking for some devastating Death Metal riffosity would do well to check out the new ones from Chainsword and Hallucivore (both of which fall somewhere between long EP and mini-album) and Grand Devourer (which only narrowly missed out on my top ten), as well as the equally rifftastic new ones from British bruisers De Profundis (The Gospel of Rot), Soulfracture (The Leader of the Exploited) and Plague Pit (A Whispered Curse).
Whereas if you’re after something a bit more overtly “technical”, then ALVORECER, the brand new EP from Glasgow’s Godeater (which might just be the best thing they’ve ever done) or the cosmic contortions of Celestial Procession by Dublin’s Void Revenant should absolutely satisfy your cravings in that regard (and, if they don’t, then there’s always the mind-warping madness of NEFAS and Pyrrhic Salvation, or the void-bound Prog Death of Cellar Vessel and Vaegon , for you to get your teeth into as well).
Oh, and, of course, we can’t forget about the absolutely monstrous new two-track EP from Pestilength, or the apocalyptic Tech-Grind assault of Absolutism‘s Stream of Consciousness, can we?
Those of a more “blackened” persuasion, however, should immediately turn their attention to Dissolve |Emerge by Sum Lights, Connections to the Erebus by AkoúΦenom, and We Chose Death by Acephalic Void, which are easily three of the year’s best EPs (even if they didn’t quite make my Top Ten, though they all came close) and the blisteringly thrashy Blackened Death-gasm of Suffering Hour‘s Impelling Rebirth.
Then, once you’re done with those, make sure you make room for the third EP in the De Kronieken Van Het Verdwenen Kasteel trilogy by Fluisteraars, as well as making time for the esoteric darkness of Practice of Exegesis by Gravenchalice and the scalding dissonance of Insolence by Mourir (both of which are highly underrated in my book),
And, if you’ve still got any energy left after all that, let yourselves be pulverised by the Blackened Death bombardment of Anima by L’Antre Deux Terres.
Anyone with a hankering for something more ‘core-related should also find a lot to love here, with the punkier and/or grindier side of things being well served by the erratic, experimental extremity of Broken Sword, Rotten Shield by Full of Hell, the pull-no-punches aggro-anthems of Anti Ritual, the d-beat-driven catharsis of Capitalist, and the catchy-as-hell Death-Crust of Cessation of Will by Head of the Baptist.
The more Hardcore-loving readers should make space in their busy schedules to check out the abrasive, “Angel Statue Metalcore” of Truth & Reconciliation by Splitjaw (which almost made my top ten) and the gnarly, Blackened Hardcore of Plague Continuum by Harrowist (ditto), as well as the more anthemic attack of Self-Fulfilling Tragedy by Backstabbed and the passionate Post-Screamo of Eventualities by Ostraca, while Deathcore lovers can throw down to new releases from Impending Doom (Towards the Light) and To The Grave (Still) and To Obey a Tyrant (Frigore Inferni).
Last, but by no means least, if your tastes run more towards the weird, the warped, and the wonderful, then you should know that Sallow Moth recently released two new EPs – the Avant-Death brutality of Deformity in Ceremony and the progressive sonic hybrid that is Blue Permutations – continuing the increasingly unpredictable and genre-defying streak established on Mossbane Lantern, while Maladie shifted shape once more on Symptoms V, to become something much darker and more chaotic.
And, of course, the article can’t be completed without mentioning the thrilling technical tumult of Black Marrow by Slaughtersun, whose guitar-less(!) delivery marks it out as one of the most unique releases of the year!
ANDY SYNN’S TOP TEN EPs OF 2025
Once you’re done listening to all the EPs listed above (you are going to listen to all of them, right?) you can then turn your attention to the ten EPs I’ve loved and listened to the most during 2024, beginning with…
10. FIFTEEN RHEMA – PULLING APART WHAT REMAINS
Coming in at #10 with a bullet is the latest snarling slab of shameless Zao-worship (which shouldn’t be a surprise if you recognise the origins of the band’s name) from Fifteen Rhema.
Comprising just four songs, totalling just over 12 minutes (which makes it one song shorter, but about 22 seconds longer, than their previous EP), Pulling Apart What Remains clearly knows exactly whose footsteps it’s trying to follow in, but isn’t afraid of the challenge, with the razor-sharp melodic/metallic bite of “Chasm” and the jagged discordance of “From Beyond” making an impressive first impression.
It’s the latter two tracks, however – the stomping, caustically catchy “Premature Burial” and the agile, aggressive “Field of Blood” – which really show off the band’s true potential, and though they’re still standing on the shoulders of giants right now I can’t wait to hear what they’re capable of when the time finally comes for them to stand alone!
09. WINDCHIMES – ENVELOPING RETRIBUTION
Call them “Deathcore” if you must – though this is Deathcore that traces its roots more back to the likes of Suffocation and The Red Chord than any of the more popular (and populist) forms which dominate the scene today – but don’t let that stop you from cranking the band’s new EP, Enveloping Retribution as loud as possible whenever you get chance.
These four tracks (plus two equally brutal bonus tracks) make up one of the ngriest, most antisocial releases of the year, with the lyrics to tracks like “Religious Zealot” and “Civil Serpent” (sample: “The weak sign up to feed their ego / Something that will never be quenched“) suggesting that Windchimes have a bone to pick with anyone and everyone in power today.
And while the band’s music favours ugly, low-slung riffs and chugging, gut-churning rhythms (plus an array of spiteful, guttural, and just plain harmful vocals) they aren’t afraid to display a little nuance here and there, lacing just the right amount of sinister, strychnine melody into their sound (especially during “Silk & Gold”) to soothe your bruises and keep you coming back for more.
08. ΘΛΊΨΙΣ – SERVANTS OF APATHY
To explain why Θλίψις deserve to be here (and they most definitely do) allow me to quote, pretty extensively, from my own review of Servants of Apathy:
Not only does [the EP] immediately grab your attention with a mix of seething energy and scathing intensity – whose shameless hookiness and unapologetic, in your face attitude recalls the best of the best of bands like Woe, Uprising, and Trespasser – but it turns out that the group themselves, rather than indulging in the usual Satanic and/or nihilistic sensibilities associated with the genre, have dedicated their music to the oppressed and downtrodden (in this case by expressing their solidarity with the people of Palestine).
And while the sleek, scalpel-sharp guitar melodies of “Servants of Apathy” have quickly made the song a firm favourite (and a shoe-in for this year’s “Most Infectious” list), the rest of the record hits just as hard (and cuts just as deeply), with the bold, heroic swagger (and prominent, pulsing bass-lines) of dynamic mid-EP mini-epic “Lament of a Dying Land” and the even more epic, riff-driven catharsis of closer “Ξυράφια Απελπισίας” taking the band’s sound to new heights without abandoning their roots in the process.
07. ANCST – DOMINION
There’s a reason why, in my review of Dominion, I said that ” I’ve never grown tired of [the band’s] viscerally virulent brand of blisteringly aggressive Blackened Metalcore (which shares a significant amount of DNA with the likes of All Out War and Heaven Shall Burn) and these seven tracks are a perfect example of why:
The opening title-track seethes and surges like a more stripped-down and savage offcut from Endzeit, while “A Testament” blasts and booms (and also betrays some of the band’s more “epic” inclinations too) with bombastic intensity, after which “Furnace of Shackled Stars” keeps the party going with its irresistible melodic momentum.
“Divide and Conquer” is just under three-and-a-half minutes of blastbeats and breakdowns that never pulls its punches, while the mournful “As Good As It Gets” makes space for a little more melodic reflection and moody introspection amidst all the scything tremolo riffs and punishing percussive power, before the chunkier, chuggier strains of “Swansong” and the hypnotically heavy “Always Night” close out what is easily one of the finest, and fiercest, collections of songs the band have ever recorded.
06. UNDERNEATH – IN THE SHADOW OF A WATCHTOWER
I’ve said it before, and I’ll say it again:
Clocking in at just over twelve minutes, In The Shadow of a Watchtower is a six-song slab of sheer sonic terorrism combining Grindcore intensity, Mathcore madness, Sludgy groove, and Deathly malice… and that’s all just in the first track (“Virtual Torment Machine”)!
“The Eternal Return” is a brutal, one-and-a-half minute bone-grinding of blazing blastbeats and bludgeoning riffs which recalls what I loved about their first two (now forgotten) releases, albeit with a touch more of that raw ugliness which saturated their last album, while the wild, spasming discordance and deathly density of “Difference and Repetition” errs more towards the latter while continuing to burst through and break down genre boundaries as if they weren’t even there.
And while the relentless beat-down of “Building Buildings Where Buildings Are Built” is destined to become a major favourite it’s the last two tracks – the groaning, grimly infectious Sludge-soaked “The Sword of Akasha” (which could probably go toe-to-toe with Primitive Man at their nastiest) and the tumultuous title-track (perhaps the heaviest, harshest, and best, combination of Deathcore, Grind, and Sludge the band have ever written) – which really showcase the band’s ever evolving potential, to the point where I really want to hear even more from them as soon as we can!
05. OBSCURE SPHINX – EMOVERE
Look, on the one hand I’m disappointed that 2025 didn’t give us a new album from Obscure Sphinx but, on the other hand… it’s hard to complain, considering how good Emovere actually is:
One thing which soon becomes clear during stunning opener “Scarcity Hunter” is that while the band have lost none of their prodigious sonic power – the heaving guitars still distort the gravity around them while the low, brooding bass lines rumble like the moving of tectonic plates – they’ve also managed to imbue their sound with a little more moody melody as well, with the shimmering, shivering second half of the track in particular showcasing a more melodically vulnerable approach akin to Amenra at their most heart-wrenching.
Of course, the multi-faceted, viscerally emotive, and instantly recognisable vocals of frontwoman Zofia Fraś remain one of the major selling points of the band – with her raw-throated howls and captivating cleans during “As I Stood Upon the Shore” helping to remind both new and old listeners just why she’s considered one of the most versatile and inimitable vocalists out there – but it’s still clear that Emovere is a true group effort, one which not only gives each member of the band a chance to shine (the extravagant ebb and flow of “Nethergrove” especially gives the entire group the space they need to push themselves, both individually and collectively) but which also demonstrates just how creatively cohesive they are as a unit.
04. CHURCH TONGUE – YOU’LL KNOW IT WAS ME
I’m just going to quote my own review here to explain/justify Church Tongue‘s place on this list (not that it really needs justifying):
[The band’s new EP] hits you straight away with a blend of punishingly heavy riffs and surprisingly fluid bass work (“Heart of Darkness”), all welded to a variety of viscerally hooky rhythms, while the the discordant, blastbeat-driven brutality of “One Hand Wrapped Around the Sun” pushes the intensity up another few notches.
The technically complex and rhythmically contorted guitar/drum interplay of “When It Betrays” (sounding, at times, like a heavier, more overtly Hardcore-influenced version of God Forbid – especially when those guest vocals from Colin Young kick in) makes it one of the record’s biggest highlights, but that doesn’t mean you should disregard the baneful slow-burn of “The Fury of Love” or the feral fury of the Fuming Mouth-esque “Bury Me (One Thousand Times)” which follow.
The climactic title-track, however, is one that you really can’t afford to miss, with its heavy emphasis on atmosphere and morose melody (plus a killer guest spot from Deafheaven‘s George Clark) as it transitions into its colossal second act which makes it feel far more epic and expansive than its relatively trim run-time would indicate.
Honestly, even if you’re not normally into this kind of thing I’d recommend at least giving You’ll Know It Was Me a chance, as it’s definitely one of the realest and most emotionally raw releases of the year so far.
03. THEMATA – RIVEN
To say that Riven is “heavy” would be like saying water is “wet”… it’s a fundamental, unalterable characteristic of Themata‘s sound, going all the way down to the atomic level. And I said as much back when I reviewed it, stating that:
The juxtaposition between atmospheric melody and catastrophic groove on opener “Colossal” – which quickly introduces you to the EP’s appropriately gargantuan guitar tone and cavernously heavy bass sound – is an early hint at how good the group’s debut release is going to be, balancing catchy and crushing in equal measure, with the almost Meshuggah-like mix of needling dissonance and spine-crushing heaviness that is “Loathe” then (somehow) upping the ante even further.
Make no mistake about it, this is absolutely one of the heaviest, weightiest releases – EP, or otherwise – that you’re likely to hear all year, with the oppressive sonic density and claustrophobic ambience of tracks like moody, mid-record monstrosity “From the Ancients” and the primal, punishing rhythmic assault of “Floods” helping it to quickly become a firm favourite of mine… to the point that by the time the desolate devastation of brooding closer “Of Ire” has finished laying waste to my ears I’m almost always ready to spin it again!
02. CAR BOMB – TILES WHISPER DREAMS
It may only be three tracks, but these three tracks pack in more twists and turns and total positronic reverals than many bands manage in an entire album (or an entire career):
“Blindsides”, for example, is just under five minutes of erratic, percussive chuggery and stretched-out, time-warping chord sequences – topped off with an apoplectically intense vocal performance and interspersed with moments of strange, almost dreamlike melody and off-kilter technical wizardry – whose mix of inhuman precision and combustive energy remains a step beyond, and above, the reach of most of the group’s relatively small circle of peers.
“Paroxysm” then packs all these elements and influences – ripping up and remixing bits and pieces of Meshuggah, Deftones, Converge, and more, through the lens of artists like Aphex Twin and Autecre – into an even more tightly-wound, sub-two-minute, package, after which the crushingly heavy, convulsively groovy title-track opts for a surprisingly catchy (and, at times, almost thrashy) approach that makes the whole song feel like a carefully crafted, insidiously calculated, computational virus designed to infect and crash your operating system by forcing you to replay it over… and over… and over… and over… and over… and over…
01. MELTING – YOU EXIST BECAUSE WE ALLOW IT
One thing that has united all the releases in the list (but especially in the top 5) is a sense of absolutely outrageous heaviness… and while that’s not the only reason that Melted ended up taking the #1 spot on my list, it certainly didn’t hurt their chances:
Make no mistake about it, these boys are in possession of some absolutely humongous riffs (not to mention some back-breakingly heavy bass), and aren’t afraid to use them, with the almost unrelenting audio assault of tracks like “Unwavered” and “874” following in the footsteps of similarly aggro artists like END and The Acacia Strain in the way they seem to view music not so much as something to be shared with others as it is something to be inflicted upon them… preferably at maximum volume and with minimum warning.
That’s not to say there aren’t a few subtleties to the band’s sound, as their occasional use of sinister pseudo-melody or unsettling ambience – with both mid-EP mini-epic “Guided By the Hand of a Witch and Corvid” and unexpectedly poignant, unerringly powerful closer “Perhaps This Is Hell” making excellent use of both – only serves to make the surrounding sonic catastrophe seem even heavier, but when you’re listening to the gargantuan grooves of “Into the Suffer” or the monstrous chug ‘n’ churn of “Oblivion”, trust me… subtlety is going to be the last thing on your mind.
As you may have gathered, since it’s taken the top slot as my favourite EP of the year so far, I can only hope that Melting are already working on their next release, because I need to hear more from them ASAP!