(Daniel Barkasi has delivered another monthly collection of reviews, and in this installment he recommends six records released in November 2025.)
An occurrence that comes along with this time of year – other than a lot of holidays – is an uptick in touring and shows. For the last month, we could have gone to at least 3-4 shows per week if able – a fine way to bow out of the Sunshine state. One of the last of which was Cattle Decapitation’s headline run (you can read the review and see my photographer wife’s photos here at NCS). She’s damn good, and it’s a blast to cover shows with her. We make a great tandem, both in this scenario and every other. With the US Thanksgiving holiday in the rearview, this serves as a reminder that I’ve got a ton to be thankful for. Don’t take anything for granted, folks!
To anyone who goes to a lot of shows, a fondness for specific venues is bound to occur. In my early showgoing days, Club Laga in Pittsburgh was one such place. It’s the club where most shows that folks like us would be attracted to would end up when a tour came to Pittsburgh, which was hit-or-miss at the time. It was a place where I made friends for life, conducted my first in-person band interviews, and saw some shows that we’ll never forget. One of which was in 2003 – Dimmu Borgir was headlining, supported by Nevermore, Children of Bodom (on their first US tour), and Hypocrisy as the opener. I still have the ticket stub somewhere, and it was where I got to interview Silenoz for the first time – a really great guy. What a time to be alive, right?
What’s the point of this reminiscing, you ask? Well, there are some venues that have sort of become “home” for us in Florida. One of which is 90 minutes away in Winter Park, north of Orlando – Conduit. It used to be the Haven, but underwent a remodel and an ownership change, and was all the better for it. Amazing people, the right kind of underground vibe, and crisp sound.
Our main stomping ground in our home city of Tampa is extra special to us – The Orpheum, which has moved during our time here, with the current location being highly unique. Especially when a show is on their larger outdoor stage, which feels like a mini European festival. Perfect sound, incredible ambience, and an aura that’s truly special when a show really hits right.
The staff at both locales have been so kind to us over the years, and it’s a real transition point in our lives to not have the comfort of going to a show at these clubs on the regular any longer. We’ll be back at some point, no doubt, but it’ll be different. Sentiment is something I’m not shy to embrace. Memories are moments in time that can mean so much, with both having been central to a sizable amount. Hearty gratitude to the ownership and staff of The Orpheum and Conduit – thanks for those precious memories. Support your favorite venues, especially independent ones like these two. They’re incredibly important, and often face mighty struggles to survive.
Now that my monthly written therapy session is done, what you’re all here for – November releases. It was an especially eclectic month, as is reflected in the especially wide style discernment of the releases included. There’s a wildcard in there that isn’t quite typical for what we typically cover at NCS, but it’s worth a go, as well as some mind-bending avant-garde records from immensely talented artists, and acts boasting heft that’s the strength of a proverbial steel girder to the skull. Strap in.
Strigiform – Aconite
Release Date: November 14, 2025
We begin with the arcane and the outlandish, so get ready to get spun right round, baby, right round, like a record. Ok, what we have for you first isn’t about the most insane product of ’80s quirkiness, though I miss this kind of offbeat authenticity (RIP Pete Burns). Instead, we have Italian death/black metal ensemble Strigiform, whose debut Aconite is a harrowing, contorted metastation of riveting proportions.
Being composed of members of bands such as Vertebra Atlantis, Afraid of Destiny, and Thirst Prayer, we have an eclectic mixture of backgrounds brought to the table, much to Strigiform’s advantage. Adding to that, this is an I, Voidhanger Records release, which means one can’t quite pinpoint in advance what you may get – the overwhelming reason of why we’ll listen to whatever they put out. When they pluck out a band that hits, it’s typically nothing short of spectacular, and Strigiform lives up to that billing.
For an example of their sound, think portions of Blut Aus Nord’s sharper side, the expansiveness of Pyrrhon, and the biting guitar work of Ingurgitating Oblivion, and you’ll have a minor tinge of what is occurring, though Aconite is very much its own being. Restrained but tension-building guitar work whirls like a tornado, while vocalist N shrieks and contorts his voice in a variety of gruesome manners on cuts such as “Adamant” and “Obsecration.” The songwriting aims for a distressful atmosphere, perpetuating the feeling of being watched by a troubling entity that you think you see, urging questions about your sense of reality – “Scorched and Hostile” and “Knell of Nethermost Withdrawal” stand out as especially scorching and unsettling, leaving an indelible imprint.
Strigiform’s roots lie in both the mesmerizing lenses of black and death metal, with the dynamism turned up to maximum. “Hypnagogic Allure” invites the listener on a journey into the unknown via spellbinding layers of ripping guitar work, groovy bass lines, and more than several changes in tempo. Yet, all is coherent and extremely tight, showcasing the staunch care put into this record.
Aconite is an eccentric album that takes one on a warping expedition of the arcane, like a surreal psychological horror film that keeps the audience guessing even after the end credits finish rolling. No overstaying their welcome, either, barely eclipsing the thirty-four minute mark, but still providing immense depth and lasting impact, knowing when to assault the listener with abrasion and when to allow the dim, thick aura to fully take over. Leave any notions at entry, and enjoy this mercurial, grotesque, and visceral experience; Strigiform has such sights to show you.
Veilburner – Longing for Triumph, Reeking of Tragedy
Release Date: November 14, 2025
Staying on an express train to the avant-garde, we have the ever-efficient and always mind-bending Veilburner and their impressive eighth album in eleven years by way of Longing for Triumph, Reeking of Tragedy. The Duality of Decapitation and Wisdom stands as one of the very best releases of 2024, and that statement may also hold firm for 2025 in the case of the new album.
If familiar with Veilburner, then this next bit isn’t for you. If not, there’s a dose of Oranssi Pazuzu’s oddness, Hail Spirit Noir’s ability to combine rock and black metal into a hypnotic trance, and a bit of Ackercocke’s brazen memorability. The duo of instrumentalist Mephisto Deleterio and vocal wizard Chrisom Infernium work with peak productivity while dialing the madness to eleven consistently. The twisted vocalisations offered on “Longing for Triumph…” will make one quiver in bemusement, as the labyrinth of guitars spin a beautifully wicked web of trance-inducing mania.
“Pestilent Niche” churns and shreds with vigor as the vocal contributions become more twisted; these voicings are the kind that makes the listener wonder just how in the hell they are done by one person (or any person). The tonality and delivery is astonishingly creepy and dazzling all at once.
Tracks like “Rigor & Wrath” and “Ouroboreal Whorl” add an airiness to proceedings with a dose of the bizarre; “That Which Crypts Howls Grandeur” takes a darker yet no less unpredictable route, boasting some of the nastiest string work present on Longing for Triumph, Reeking of Tragedy. “Matter o’ the Most Awful of Martyrs” ups the pace by way of galloping, imposing riffs and demonic groans, becoming one of the band’s more standout entries in a catalog filled with them. Finale “…Reeking of Tragedy” links with the first song, equating to the title of the record and completing the circle with a fervent affront of the senses.
Longing for Triumph, Reeking of Tragedy is as detail-oriented of an album that’ll grace one’s ear this year. Their close attention to every minute detail, tight and unhinged instrumental and vocal demonstrations, and inborn talent to craft creative music cannot be denied, as the twosome known as Veilburner have gifted yet another harrowing chapter of music that’s impossible to forget. Seeing how quickly they carve albums, methinks we’ll have more to talk about next year. We’ll gladly revel in Longing for Triumph, Reeking of Tragedy until then.
Depravity – Bestial Possession
Release Date: November 21, 2025
From the unchained to the brutally vicious, we have Australia’s Depravity with a sledgehammer of monolithic bond-snapping death metal. Coming in without restraint is their third full-length Bestial Possession, the follow-up to 2020’s riff-machine Grand Malevolence.
If bowing at the altar of the crunching death metal riff unleashes the serotonin, then Depravity must be on the menu. Writing straightforward Morbid Angel meets Soreption in a dark alley sort of raging death metal, these five madmen’s statement is plain and full of intent – they want to drag the hapless to the depths and pulverize on arrival.
Slabs of meat like “Engulfed in Agony” revel in technical fretboard mechanics and a pulsating ever-forward attack, with the equally brutal and amusingly titled “Eunuch Maker” and the beefy “Rot in the Pit” stamping their searing clip. Mind you, this isn’t simplistic, one-note sorts of arrangements; there’s plenty of gritty atmosphere and tonal progressions to be had, aiding Bestial Possession in the all-important staying power category. Slices such as “Aligned with Satan” and “Catastrophic Contagion” hit this mark nicely. There’s even the odd melodic turn, such as the downtrodden finish to “Call to the Fallen.”
Vocalist Jamie Kay stepped up his game, gratifying even the purists by way of deep, weighty growls and throaty screams that pierce through the mix when required. Axe-wielders Lynton Cessford and Jarrod Curley put in a dual performance of scathing, punchy rhythms and technical leads that suit the song and aren’t about over-the-top theatrics that distract from the whole (see “Blinding Oblivion”). Drummer Louis Rando puts in a shift-and-a-half throughout; it’s almost tiring listening to how he constantly blasts away, but always adding a creative fill or pattern that keeps the record interesting, with bass cohort Ainsley Watkins completing the low-end thumping that makes Bestial Possession flex so much muscle.
Depravity pens death metal with a violent impetus, but amounts to more than that simple description. Sure, on the surface, this is a punishing, riff-centric splattering, but there’s gobs of verve and vitality as the layers are peeled back. Those details give Bestial Possession vital staying power, further establishing Depravity as a band that many need to take deadly serious. Top it off with a Paulo Girardi masterwork adorning the cover, and they’re cooking with napalm. Yet another Aussie band with guile who just gets it when it comes to making music that’s slightly off-center.
Dyssidia – Deeper Wells of Meaning
Release Date: November 28, 2025
This is when we go off the rails, but hear me out. Dyssidia isn’t the sort of act you see at NCS often – a predominately progressive metal band with a knack for more heaviness and scathing incursions than these ears expected. Their latest and second album Deeper Wells of Meaning is our first exposure, and like fellow Aussies Depravity, their music resides off the beaten path enough to add a distinct flavor, though admittedly way more off center than our previously mentioned death metal merchants.
As a raging Caligula’s Horse supporter, there are some similarities structurally to how Dyssidia put together their compositions, though sonically, they lean more often into the heavier proclivity both vocally and tonally, where the former embraces more hooks and melodic sensibilities. Opener “Hellish Embellishment” begins with an energetic synth piece and chugging guitar rhythms, along with vocalist Mitch Brackman’s varied delivery of soothing, soaring cleans and surprisingly potent, sturdy roars. He’s got a mid-range bark in his repertoire, too, and uses it to great effect. There’s a long-distance planning in the songwriting; each piece smoothly transitions into the next, always silky but often defying conventional direction.
Helping to lay down the right level of kick is drummer Mitch Brackman, whose position in Hadal Maw explains his clever-yet-authoritative style. Deeper Wells of Meaning is defined by a push-pull between the graceful, warm passages and higher-pitched, melodious singing, and the colder, steely harsh segments. “Few and Far Between” exemplifies the embrace of these contrasts, putting forth both simultaneously at times, and everywhere else one may imagine. When they want to take a swing, they more often than not land on the sweet spot, while also not becoming overzealous in their proggy side.
Pianos interlaced with shrill screams dominate the best tidbits of “Serum Sickness,” while “Anatomy of a Cloud” and “A Statue of Time and Depth” swell with emotive flashes, nifty progressions, and cracks of savagery. “Impulsivity” throws out techier death metal progressions at times, whilst never losing the levity that defines the other side of Dyssidia’s coin.
A detour in this column most assuredly didn’t expect, but Deeper Wells of Meaning calls to me, offering a touch of the trenchant wrapped around a soothing, introspective soul. Dyssidia shrewdly actualizes a style that when executed to this height of precision vigorously scratches a personal itch. One can bet that we’ll be doing a deep-dive into the rest of their discography, and we feel as if Deeper Wells of Meaning will be spun often in this house.
Summoning Hellgates – Spear of Conquest EP
Release Date: November 28, 2025
Recent years have been rife with debut acts releasing their first material, many rocketing to the top of year-end consideration. The boldness of the new and fresh can pique the ear, when an artist throws everything they have onto the table for all to see, or in our case, hear. That’s our cue to enter the nether regions with Summoning Hellgates as our guide; a two-piece offering their debut EP Spear of Conquest.
Imagine an immersive blackened death metal barrage, booming and expeditious, with an ongoing relentless wall of impenetrable deviant noise. The Spaniards deliver devastation without mercy – once past the ominous chants of the intro track that place set for the incursion, “Conciliábulo” delivers a mighty stab, brimming with dissonant guitar leads followed by an all-out destructive bulldozer of a maniacal sound.
The drum work on Spear of Conquest is punishing and detailed, as there’s much going on to provide a broad spectrum of flavors. Robin Stone’s work here is unsurprising, stepping in as the session player behind the kit, as his work in Ashen Horde, Conspiracy X, Norse, and a bevy of other projects speak for themselves. Add Speak of Conquest to his impressive resume; his playing is a boon for this newly birthed project.
The black metal spirit is strong with Summoning Hellgates, while their death metal side provides brute strength to give Spear of Conquest its efficacy. “Hostis Humani Generis – The Revenant” and “Prisoner of Your Own Flesh” wail with purpose, with Andrés García de la Mata’s overwhelming roar taking center stage, though there’s plenty of vocal variance – his cleaner howls remind of Spirit Possession – adding differing tastes that elevate these compositions. He also adds his skill on guitars and bass, being a creative epicenter alongside guitarist Simón Da Silva (his pedigree with Aversio Humanitatis and Velo Misere are notable), seizing the opportunity to create something exhilarating, with the results being obvious. The chemistry is undeniable, with all coming together in finale “Cilice of Atonement” completing the twenty-one minute ritual with fiery overtones and rhythmic balance.
A spot for an EP in this space is rare, but an exception was rightly made for Summoning Hellgates’ debut. Spear of Conquest blusters an unhinged-yet-ambitious feel that immediately connected with the madness frequently occurring in my skull, ingraining itself with every repeat spin. Their confident, incongruous take on the black/death metal is frantically infectious, with gobs of potential bubbling to the surface.
Unviâr – Disglaç
Release Date: November 28, 2025
The natural landscape as subject matter in black metal isn’t new, but perspective is an imperative factor to consider. Italy’s Unviâr indeed offer a purview that is wholly their own, and with their full-length debut Disglaç, an introspective creation beckons that’s deeply rooted in the Friuli region from which the record draws its inspiration. Hey, there’s Paolo Girardi again, for the second time this month! A true renaissance man and an artist always on top of his craft.
Musically, acts such as Agalloch and Wolves in the Throne Room can be attributed as an apt comparison, though like the subject matter, Univâr blaze a distinct trail. “Nevere” begins proceedings by way of cellist Massimo Silverio providing a melancholic cello solo to set the mood as wistful tremolos fade in, hastily escalating to a full gallop. This is atmosphere-heavy black metal that’s penned with care with an ear for building tension, as the song ebbs and flows like the Tagliamento river through the Friulian mountains. Guitarist/vocalist Daniele Tollon’s dual role is impressive, with a pensive snarl and scream that settles nicely in the center of the mix, while his guitar work plays naturally off of cohort Manuel Scapinello, leading to stirring cresendos that put a fine point on the nuanced elixir Unviâr concocts.
Dedication to this Northern Italian geographical location is absolute, with Disglaç’s lyrics being written in Friulian, giving the listener a fully immersive experience that only the best black metal acts of this ilk can conjure. “Corints” deepens the reflective tone by way of skillful progressions with slick tremolo work and illusory rhythm guitars, with the low-end filled out by drummer Giulia Zuliani and bassist Luca Franzin. Their contributions don’t overpower, nor are they buried, adding just the right amount of weight to the organically refined structures. The title track emphasises this (eloquently described by Islander in our premiere), being one of the stronger pieces on offer, though like many works that we analyze, Disglaç is designed to be a beginning-to-end experience and not a collection of standalone songs.
For additional steel, “Ritîr” accommodates with gripping riffage while maintaining the plotted course, adding numerous gloomy passages that aid navigating the album steadily. Closer “Sul Ôr” completes our journey similar as to how it began, with cello segments adding a mournful touch, as the song slowly fluctuates into more urgent territory, culminating in targeted bursts of energy, before fading out into the abyss.
When atmospheric black metal is assembled with this level of scrupulousness without becoming pretentious, it’s difficult to not take notice. Unviâr successfully whisk the listener off to the landscapes of Friuli by way of judicious songwriting that will make any lover of nature-inspired black metal revel in awe. Disglaç breathes rarified air, summoning you to come along.
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