BEHEMOTH - THE SHIT OV GOD (Nuclear Blast Records)

There are two profound elements that make the landmark 13th full length studio album from Polish black metal modernists, Behemoth, an essential album on the year thus far. In a world where nothing is shocking and everyone has become desensitized to the white noise of online rhetoric, Nergal manages to thrive as an articulate agitator - a figure in extreme music that understands how to focus his venom and spew it with effectiveness. Naming an album 'The Shit ov God' bears with it serious intention - with no playing coy. You have to admire that kind of fearlessness in art. Second, as the term extreme has lost some of it's edge, Behemoth seems to shine as a enduring beacon of musical extremity with each new iteration. On this latest effort, the band indulged impulse and did less dissection in arriving at the final presentation, capturing a visceral intensity that also speaks to the authenticity at the core of Behemoth. There is spectacle, but not without sincerity. Behemoth turns blasphemy into high art. That should more than earn them a spot among the year's best. - Ramon Gonzales

TURNSTILE | NEVER ENOUGH (Roadrunner Records)

Is this a bit of an obvious pick? Of course it is, but not without good reason. While Never Enough does source plenty of the elements that were most effective stylistically from Glow On, it speaks to Turnstile's ability to refine their signature. Their sound is unmistakable and if anyone else were to follow suit, the explanation would be, "they sound like Turnstile" - and that underscores just how absolute the band has become. Never Enough also furthers Turnstile's keen ability to make hardcore, as a sound, jovial. So much of the genre is about confrontation, even if it is rooted in reaffirming community. Turnstile is inclusive in a way that is celebratory, hospitable rather than hostile - and yet no less conducive to movement and stage dives. Turnstile has prompted a shift in the culture of hardcore and Never Enough is another example of their vision and efficacy. A hardcore band that goes from playing a VFW Hall to premiering their album's visual companion at Tribeca Film Festival in the span of a week. That's game recognize game. - Ramon Gonzales

GLARE - SUNSET FUNERAL (Deathwish Inc)

As cycles go, the reemergence of bands leaning into grungy 90's alternative and vast, consuming melody of shoegaze make for an especially potent combination. Texas unit Glare use loads of reverb accented vocals and absorbing guitar tone to compile 11-track of nu-gaze that translate as both fresh and familiar all in the same shot. Constructing songs that speak to the band's prowess well beyond their youth, Sunset Funeral, as a complete package is album that emphasizes consistency and competence. And while track names like "Turquoise Dream," "Mourning Haze" and "Different Hue" are a little on the nose for a modern shoegaze record, there is something special about a band that has that kind of self-awareness. Glare speaks genuine and that loans itself to honest, convincing songwriting that only bolster the existing style points. - Ramon Gonzales 

TOWER | LET THERE BE DARK  (Cruz Del Sur)

Tower have undone themselves with their third album. It’s hard enough to stand out in the crowded world of traditional heavy metal, but the New Yorkers have blown the door off the scene and then some. Let There Be Dark is an explosive and bombastic delve into occult heavy metal, completely capturing the spirit of what makes the genre timeless. Sarabeeth Linden’s almost Cher-like delivery elevates every song, while guitarist James Danzo and Zak Penley keep your fists in the air with high-octane riffing and ear-melting solos. Closer “The Hammer” might be the most fun you’ll have all year. - Jon Garcia

MESSA | THE SPIN (Metal Blade Records)

While Messa’s sprawling 2022 album Close showcased their unhinged and fearless approach to progressive “Scarlet” doom, The Spin distills it down to a more concentrated strain. Each song is exactly as long as it needs to be, whether it’s a four-and-a-half minute stormer like “Fire on the Roof” or the eight-minute album standout “The Dress”. Even galloping lead single “At Races” morphs into a slow burn before opening up into an Iommian guitar display. Surprises and risks unfurl at every turn. The quartet have shown they are among the best and unique songwriters in the world, and Sara Bianchin’s otherworldly voice is the cherry on top. - Jon Garcia

NITE | CULT OF THE SERPENT SUN (Season of Mist)

As a band, Nite is what it’d be like if Immortal re-recorded Iron Maiden’s Somewhere in Time. They’re Savatage by way of Darkthrone, and they perfected their evil-meets-fun sound on Cult of the Serpent Sun. It’s the tightest the band has ever been, and they’ve trimmed all the fat off their songs to deliver an efficient blast of metal to your ears. At 35 minutes, its replayability is nearly limitless. Songs like “Skull” and “Winds of Sokar” will transport you to dimensions unknown, while “The Mystic” is the type of mid-tempo epic that builds on the band’s world without taking away from the record. - Jon Garcia

DORMANT ORDEAL | TOOTH AND NAIL (Willowtip Records)

If you haven’t heard of this extreme Polish two-piece, it’s time to change that. For fans of Ulcerate or Behemoth, Tooth and Nail borders on blackened death metal without really going over the line. Speed picked guitars combine with heavy, oppressive dissonance while machine-gun double bass and frenetic blast beats pummel you to a pulp. But what may be most impressive is how the riffs carry the listener through the album, whether they’re melodious or not. There’s immense emotion inside every song, which powers Tooth and Nail from the very start to the very end. - Jon Garcia

TRIBUNAL | IN PENITENCE AND RUIN (20 Buck Spin)

Gothic death doom has rarely sounded this beautifully sinister. The second album from Vancouver’s Tribunal is even more enthralling than their debut; an impressive bar to clear, to be sure. Vocalist, cellist and bassist Soren Mourne uses both clean and harsh vocals to coax the listener through a story about justice, while guitarist and vocalist Etienne Flinn allows for even more dynamics in the band’s delivery. With those two main songwriters combining different approaches to doom, In Penitence and Ruin gives you an experience like dreamwalking through a place you recognize but aren’t sure why. Fans of Candlemass, My Dying Bride and Draconian would be wise to get familiar with Tribunal. - Jon Garcia

RWAKE | THE RETURN OF MAGIK (Relapse Records)

After fourteen years off the grid, Rwake are reborn, their clattering raw sludge of their earlier records that felt like coming across a horrific cryptid in the woods now imbued with a majesty and grace amplifying that otherworldly and psychedelic presence to one of world-shaking stature. - Perran Helyes

BLEEDING THROUGH | NINE (Sharptone Records)

On their first album in seven years and follow-up to 2018’s reunion album Love Will Kill All, Bleeding Through return as a band time just does not seem to soften, continually toying with their symphonic black metal edge that has made them such a key precedent of today’s metalcore and deathcore scene but whilst playing with a genuine rampaging danger beyond many of them. - Perran Helyes

HEXVESSEL | NOCTURNE (Prophecy)

Mat McNerney’s continually transforming woodland folk now turned icy atmospheric black metal project build on 2023’s Polar Veil with a more delicate and intricate work, the full Hexvessel assembly that first performed this piece at 2024’s Roadburn Festival translating the experience to record to form one of 2025’s most unique and exquisite sounds. - Perran Helyes

PISSGRAVE | MALIGNANT WORTHLESSNESS (Profound Lore)

Concluding their trilogy of torment with their probable final album, Pissgrave finalise their claim to be possibly the most wretchedly disgusting and traumatic death metal band of them all, the sound of utter obliteration of the human body on tape. - Perran Helyes

RIVERS OF NIHIL | RIVERS OF NIHIL (Metal Blade Records)

Following The Work, an album I thought couldn’t be touched for intensity and power, as well as the departure of vocalist Jake Dieffenbach, I was nervous going into Rivers of Nihil. I can’t think of an album in recent history that has so summarily blown away my expectations, and frankly the rest of my mind with it. One of the albums of the decade, with a stunning production job, it is crammed with effervescent melody, crushing guitar work, and headlong, totally committed songwriting. From “The Sub-Orbital Blues” through “Despair Church”, there is barely a lull until it culminates in the title track which could easily be three times as long. Take a step back and marvel at their works. - Dan Franklin

IMPERIAL TRIUMPHANT | GOLDSTAR (Century Media Records)

Like Thou’s stunning Umbilical last year, Imperial Triumphant’s latest thrives on its self-imposed restrictions. Pledging to keep the running time of (most of) its tracks under five minutes, their gold-plated musicianship and chops run along sharply delineated contours here, in another crystalline expression of rotten retro-futuristic modernity. “Lexington Delirium” progresses with insouciant danger, using one of the best drummers in the world (Tomas Haake) for a spoken-word part. That’s confidence. “Hotel Sphinx” delivers the band’s full Kubrickian experience, quoting the main theme from Barry Lyndon in the style of A Clockwork Orange. But Imperial Triumphant never let the avant garde get in the way of a good ass-kicking, as its corkscrewing breakdown demonstrates. If you ever wondered what death metal would sound like if it had evolved out of jazz, here’s your answer. - Dan Franklin

LO-PAN | GET WELL SOON (Magnetic Eye)

It’s been six years since Ohio’s Lo-Pan released Subtle, and Get Well Soon takes a few songs to get going. But by the time they’re ploughing into “Ozymandias” we’re firmly back in their grasp. Chris Thompson’s guitar weaves in and out of Jeff Martin’s soaring vocal lines like snakes charming each other. Meanwhile, drummer Jesse Bartz and bassist Skot Thompson lay down some of the most intriguing rhythm work of the year – playing it straight, sinewy, and deceptively complex, as it suits them. By the time we reach “Stay with the Boat”, Lo-Pan are tossing us about at whim. Any band that brings to mind early Tool, Fun Manchu and Clutch deserves our attention. Lo-Pan are grabbing it with this one. - Dan Franklin

IRON MIND | TEST OF THE IRON MIND (Last Ride Records/Flatspot Records)

Considered torchbearers for Australian hardcore for almost twenty years, Iron Mind’s long-awaited return with Test Of The Iron Mind came with a fittingly, brutal pay off. Stomping breakdowns and ferocious energy meet introspective lyricism; winding steps taken by vocalist Sam Octigan highlight a raw hunger to empower and reinforce his community with perseverance.  Born from a period of rejuvenation for the band, this is an album that confidently steps into fresh territory while remaining faithful to the bone-shifting sonic foundations that established Iron Mind as one of Down Under’s best to do it. - Sosefina Fuamoli 

CHASING GHOSTS | THERAPY (Independent)

Championing urgency through forward-thinking lyricism and crushing punk and alternative arrangements, Chasing Ghosts have emerged this year as one of Australia’s most important groups. Led by powerful songwriter Jimmy Kyle, Chasing Ghosts’ third album Therapy is unafraid to face confronting and harsh realities; his music and storytelling here deconstructing and illuminating the experience of navigating life as a First Nations Australian. Exploring generational trauma, the desire to break the chains of such trauma in aspiring a brighter future for the next generation, Therapy is a visceral, emotional listen – certainly one of the most impactful releases from an Australian group this year. - Sosefina Fuamoli 

THORNHILL | BODIES (UNFD)

Melbourne’s Thornhill came through with a striking third album in Bodies: a collection of music that thrives on spontaneity and biting attitude. It is unafraid to mix sonic stylings up; the metalcore faithful sees the introduction with almost R&B-flecked rhythms that somehow work perfectly when tied together by Thornhill’s confidence as songwriters and musicians. Bodies feels like a strong moment of graduation from previous album Heroine and an exciting look at where the next chapter is still to take them. - Sosefina Fuamoli 

JINJER | DUEL (Napalm Records)

An album like Duél is one that I wish was the album that I received my introduction to Jinjer through. Not only is it a slick and concise presentation of a record, but it does feel like the Ukrainian metal group are thriving at a vicious new peak. Crushing arrangements are delivered with an unbeatable intensity, anchored by the beautifully demonic vocal presence of Tatiana Shmayluk. Duél wastes no time in bringing the listener into its zone and continues to push the band’s own creative boundaries; landing each musical punch with fury and glee. - Sosefina Fuamoli 

SLEEP THEORY | AFTERGLOW (Epitaph Records)

The chokehold this album has had on me and, going off of the sheer amount of TikTok videos and YouTube reactions since its release, countless others, is impressive. Blending metalcore, alt-rock and R&B together in a way that still offers moments of honesty, nuance and poignancy…Sleep Theory has struck a formula that feels fresh without being saccharine or manufactured. Cullen Moore’s vocals are a clear highlight; the ability to swerve between emotional beats without being drowned out by the instrumentation is one that works just as well live. As a debut album, Afterglow is going to stand as one of the strong breakout moments of any band in 2025 - the immediate future is very promising from here. - Sosefina Fuamoli 

THE CALLOUS DAOBOYS | I DON'T WANT TO SEE YOU IN HEAVEN (MNRK Music Group)

Leave it to The Callous Daoboys to deliver the kind of statement album that makes the rest of the year feel like it’s playing catch-up. I Don’t Want to See You in Heaven is a glorious cacophony of mathcore absurdity, experimental ambition, and emotional weight - a maximalist masterpiece from a band that’s always been too weird to fail. Tracks like the infectiously earwormy “Two-Headed Trout” to the melancholic introspection of “Lemon” to the crushing bang-your-head riffage of “The Demon of Unreality Limping Like a Dog” bounce between chaos and catharsis, while the 12-minute closer “III. Country Song in Reverse” cements the album as both a current and future classic. There’s just nothing else this year - or maybe even this decade - that sounds like this. The Callous Daoboys have built toward this exact moment across their career, but here they break through the wall entirely. The riffs are ignorant, the lyricism teeters between hilariously blunt and genuinely poetic, and the scope is staggeringly ambitious. There’s nu metal, screamo, hardcore, jazz fusion, auto-tuned crooning, string arrangements - sometimes all in the same song. It’s not just one of the best heavy records of the year - it might be the record of the year. A real-time inflection point for heavy music and music as an artform in general, and one we’ll be looking back on for years. - Nicolás Delgadillo

JIVEBOMB | ETHEREAL (Flatspot Records) 

With Ethereal, Jivebomb have transcended any easy definition of what hardcore is “supposed” to sound like. The Baltimore wrecking crew flips beatdown music on its head with their first feature length album, blending pummeling breakdowns and face-melting distortion with a bouncing hardcore beat and a creative unpredictability that sets them firmly apart from the pack. Kat’s snarling vocal delivery cuts through like a knife, while the wailing leads and searing solos of the band’s guitars elevate the sonic landscape into something almost thrashy. It’s angry and stylish, violent and vibrant; hardcore that isn’t afraid to be cool as hell. That style bleeds into their aesthetic too - Ethereal doesn’t just sound good, it looks and feels good. Each track delivers something new without sacrificing momentum, and as a whole, it’s a tight, confident release that expands what’s possible for this kind of music. It’s got bite, swagger, and vision - a rare combination, and one that’s helping redefine what hardcore can be in 2025. You don’t just hear this EP, you get pulled into it. And once you’re in the pit with JIVEBOMB, you’re not getting out unscathed. - Nicolás Delgadillo

MSPAINT | NO SEPARATION (Convulse Records)

MSPAINT’s No Separation is 15 minutes of electrified, post-everything fury. Equal parts hardcore, synthpunk, and industrial noise, the EP continues the band’s sonic thesis: smash the system, find beauty in the burn. Coming off the full-length Post-American, this collection refines their sound into something leaner, meaner, and more emotionally urgent. Opening track “Drift” launches with stark, poetic lyrics - “We were never free / Just cost effective” - that set the tone for a record that’s equal parts dystopian rallying cry and personal reckoning. “Wildfire” is an undeniable standout, a gut-punch of social disillusionment set to one of the most addictive grooves the band’s ever crafted. What MSPAINT does best is make the radical feel tactile - their music doesn’t just protest, it dances in the debris. Synths shriek, basslines lurch, vocals rage, and somehow, it’s still catchy. In a genre where sonic and political stagnation can easily set in, MSPAINT sound like the future. There’s no filler here, no wasted space - just concentrated anger, energy, and vision. It may be short, but No Separation speaks louder than records twice its length. It’s one of the most urgent, alive, and deeply felt releases of the year. Are you not tired of waiting for nothing to save you? - Nicolás Delgadillo

LANDMVRKS | THE DARKEST PLACE I'VE EVER BEEN (Arising Empire)

LANDMVRKS have always flirted with greatness, but The Darkest Place I’ve Ever Been is the moment they fully ascend. This is metalcore blown out to stadium-sized proportions - massive riffs, cinematic orchestration, bone-snapping breakdowns, and some of the most memorable choruses of the year. The Marseille band folds in influences from modern trap and French rap, catchy American metalcore, and fast, vicious, groovy instrumentals that give each track its own distinct flavor. And yet, the whole record still feels cohesive - like one unified scream of defiance and release. It’s easy for a record this polished to feel overproduced, but LANDMVRKS sidestep that trap entirely. These aren’t just loud songs - they’re crafted. Every beat, every drop, every dynamic shift is purposeful. From choir-backed walls of sound to razor-sharp grooves, the band constantly finds the sweet spot between familiarity and surprise. It’s also a decently long album, but you wouldn’t know it - not a single track drags or feels redundant or filler for the sake of filler. This is their magnum opus, the culmination of everything they’ve been reaching for. If you’ve ever doubted metalcore’s power or potential in 2025, this is the album that proves there’s still room to go bigger, deeper, and better. - Nicolás Delgadillo

STRAY FROM THE PATH | CLOCKWORKED (Sharptone Records)

If Clockworked ends up being Stray From the Path’s swan song, then it’s one hell of a final word. This is a lean, unrelenting record that’s angry to the bone - socially conscious hardcore-metalcore hybrid explosiveness at its most refined. Stray have always embodied their own distinct brand of righteous fury, and here, that fury burns hotter than ever. Craig Reynolds turns in a clinic on the drums, unleashing a barrage of jaw-dropping fills and grooves that only deepen the chaos. But this isn’t just the Craig show despite the drummer’s popularity and, you know, literally having a show - every member shows up swinging. Guitarist Thomas Williams brings in some of his most creatively brutal riffs, while Andrew Dijorio’s rage-infused vocals cut through with venom and clarity. There’s always been a distinct Rage Against the Machine undercurrent to their political fire, but filtered through an even heavier and more antagonistic lens. Urgent, direct, and pit-ready, Clockworked sounds like a band fighting not just for relevance, but survival - and it’s thrilling. If this is the end, they’re going out on their feet, certainly not their knees. Either way, Clockworked stands as one of the most relentless, invigorating hardcore releases of 2025. In the hands of literally any other artist operating today, a song along the likes of the aptly titled “Fuck Them All to Hell’ would be some of the worst cringe imaginable - when it’s coming from Long Island’s finest, it’s pure incandescent poetry. - Nicolás Delgadillo

MALEVOLENCE - WHERE ONLY TRUTH IS SPOKEN (Nuclear Blast Records)

The heavy swinging sword of Sheffield, Malevolence had generated high expectations coming off of 2022's Malicious Intent and delivered. Amplifying their sonic intensity, while simultaneously refining their attack, the band's meld of metal execution and hardcore backbone has allowed the band to resonate with such a broad range of fans. Recording for the first time outside of the UK and teaming with renowned producer Josh Wilbur, Malevolence was able to showcase a variety of influences into a sturdy, stylized wall of sound that tours big solos, walloping breakdowns and serious musical conviction. - Ramon Gonzales

 

SLEEP TOKEN - EVEN IN ARCADIA (RCA Records)

While there is some dissent over how to best categorize Sleep Token, the one thing that is irrefutable is how seismic their impact has been over the course of their last couple of albums. On Even In Arcadia, there is opulence that really does deliver on the descriptor of cinematic - a term often used but rarely actualized. A proficient meld of djent guitars and Vessel's uncanny vocal prowess, Sleep Token's command is if nothing else, undeniable if not marvelous. Feaure writer Dan Franklin offered a compelling summation of the cultural shift that Sleep Token has started. Well worth the read - HERE

MANTAR - POST APOCALYPTIC DEPRESSION (Metal Blade Records)

For the German doom punk duo of Mantar, the acclaim of their 2022 LP, Pain Is Forever And This Is The End was plentiful and more than deserved, but it did not come without a heavy toll. The meticulous studio process would strain the relationship between members Hanno Klänhardt and Erinc Sakarya, causing the tandem to nearly call it quits in response to the stress. For the follow up, the pair skipped the mapping and just went for it, crafting a loud, raucous and palpably raw record that speaks to the insane talent of the tandem. Three years ago, Mantar earned praise for their hugely constructed wall of sound. In the span of 12 unrelenting tracks of Post Apocalyptic Depression, Mantar gloriously tear down what they built and dance on the rubble. - Ramon Gonzales

SPIRITBOX - TSUNAMI SEA (Pale Chord/Rise Records)

Because "best" is always going to be subjective, effectiveness has to be something considered when surveying the albums of the year. Spiritbox more than meets the baseline criteria when it comes to the most important names in modern metal, but on Tsunami Sea, the band have gone from breakout success to heavy music vanguards. Courtney LaPlante's presence is as powerful as it is prolific, guesting alongside Megan The Stallion for this year's headlining Coachella set on a night off from her own headlining tour. From festival appearances and sold out headlining tours, to network television performances and Red Carpet photo ops at the Grammys, Spiritbox is everywhere and the force of the band's latest album offes clear evidence as to why. - Ramon Gonzales

SPIRITWORLD - HELLDORADO (Century Media Records)

From the grim genius of Stu Folsom, outlaw thrash amalgam SpiritWorld have submitted their third full length album, Helldorado. The much anticipated follow-up to the acclaimed 2022 release of Deathwestern further adds to the project's celebrated mesh of the Old West and the occult. Along with guest features from Sgah’gahsowáh of Blackbraid, Zach Blair of Rise Against and Frederic Leclercq of thrash legends Kreator, Folsom manages to expand the boundaries of heavy music by bridging adjacent influences to craft something distinctly stylish, subtly sinister and skillfully executed. - Ramon Gonzales