Release Day Roundup: 11/7/25

Top Picks

Astronoid – Stargod (progressive/melodic "hyperthrash", synth rock)

There are two factions here at Heavy Blog: one that holds Asronoid's groundbreaking "dreamthrash" debut Air (2016) in extremely high regard and considers the band to have lost something of that original inspiration as each passing record carves off more and more of its raw, post-metal progressiveness; and another that believes the band have only become better with each subsequent and increasingly refined record—and just because I seemingly account for the entirety of this later camp all on my own doesn't make me any less assured or vocal in my convictions!* I completely understand why someone enamoured with Air might not care for Stargod. Though pockets of pace and energy remain, there's hardly anything here that I'd call "trash", or even really "hyper" for that matter, other than a general, higher register. What there is though is an absolute abundance of elatedly ecstatic, yet also mournfully melodic, synth rock that has maybe ignited my particular personal passion harder than anything else I've heard this year.

The entire album is amazing, but there are two key moments completely, that won me over. First is the title track, which—following an already incredible and largely upbeat opening two tracks—pulls the pace back to a mid-paced grove that simultaneously sounds like the nostalgic romance theme and triumphant closing credits number of the best '80s movie you've never seen, coupled with an instantly infectious, yet also surprisingly understated, chorus. It's everything I wanted from the new Coheed and Cambria album and immediately burrowed its way into my soul while suggesting that Stargod might be something really special. This suspicion was then immediately confirmed by lead single "Third Shot", which sounds like a mash-up of Devin Townsend's "Hyperdrive" and Don Henley's "Boys of Summer" while also lifting the riff and rhythm from Killswitch Engage's "Rose of Sharyn", with the rest of the album largely follows suit from there. If that isn't an appealing concoction, then I don't know how to help you, as I am utterly powerless against Stargod's precise and particular charms—but why would I ever want to resist?

This album makes me feel how I imagine Eden feels like when he listens to post-rock, simultaneously elated and forlorn, on the brink of tears the entire time, but also unstoppable grinning from ear to ear. While there have been many good and some even great albums released this year, none have really stuck with me the way my favourite albums from prior annums have. Stargod, however, is one I have been going back to over and over again since we first got the promo for it a few weeks ago, and I can't see myself slowing down any time soon. I am utterly enthralled with this record, to the point that I can hardly stop myself from proclaiming it my album of the year, and don't really see any reason why I should!**

*There are, of course, also dirty centrists like Eden, who sit somewhere perhaps more sensibly in the middle.

**...besides a sensible exercise of caution and maybe Broken By the Scream.

Omnium Gatherum – May the Bridges We Burn Light the Way (melodeath)

Providing further testament to the power of animal-print guitars* this week are Finnish melodic death metal institution Omnium Gatherum. While I'm sure I must have listened to them at some point or another, not a single moment of their previous nine outings has ever stuck with me. May the Bridges We Burn Light the Way, however, immediately shot up this year's highly competitive melodeath rankings and indeed those of the general state of melodic death metal in general, especially when it comes to the other big-name legacy acts.

Imagine if Dark Tranquility or Amon Amarth were still making songs this good! That's not just hyperbole, the comparisons here are fairly direct and the Finnish OGs** come out on top every time. Despite its more melodic textures, there is also a progressive edge to opener "My Pain" , which leaves it sounding like a mix of mid-period Dark Tranquility and Dream Theater, or even modern Evergrey, while "The Last Hero" sounds like a synth rock rendition of "First Kill" from that last great (or even really good) Amon Amarth album Jomsviking (2016), over a decade ago. Beyond their animalised aesthetic, Bridges also shares a large part of appeal with Stargod thanks to its shiny production and the hefty helpings of Devin Townsend-esque tonalities at the start of "The Darkest City".

So it is that I find myself somewhat at odds with Boeli's much more well-informed review, in that I find its first few, more melodic and tightly-plotted tracks significantly more memorable than its later offerings, but lack the huge hooks of its opening salvos. I can't really say how it stacks up against Omnium Gatherum's previous works, other than that—from my extremely subjective and ignorant point of view—it blows them completely out of the Nordic waters, along with everyone else. If you're looking for a melodeath album that leans more into the defining, melodic side of its genre, without sacrificing any of its metallic punch, then all you have to do is look towards the light.