#modernmetal

Song suggestion: Skyshaper - Momentum

https://www.youtube.com/watch?v=3pO9NCHEb9M

ELEINE (Modern Metal – Sweden 🇸🇪) – Release “Watch As We Rise” official music video – Taken from the album “The Water Taste Of Blood” which is out on December 4, 2026 via Algoth Records / Sound Pollution #eleine #modernmetal #heavymetal   The third single from the upcoming studio album to be released in December of 2026. Stream on all platforms: https://orcd.co/goth001s3 Pre-order the new album…

The Danish/European band delivers a heavy, modern hard rock sound on its current Bandcamp releases, documenting an evolving musical direction ahead of a larger album campaign.

Based in Denmark and led by Peter Wolf Frandsen, No Stone Left Unturned brings together an international lineup featuring vocalists Alessandro Medri and Jim Dummer, lead guitarist Konstantin Raidovski, and drummer Paolo Conte.

The page currently features two releases, The Experimental Playground and The Endless Void. Together, they present contrasting sides of the band’s creativity while maintaining a dynamic, forward-thinking sound. Each release points toward a different direction, but neither feels separated from the identity of No Stone Left Unturned.

That range is central to the band. Peter’s background includes experience performing everything from rock to death metal, and the Bandcamp catalog reflects a long relationship with heavy music rather than one narrow stylistic reference. The two existing releases function as separate chapters, giving the page a sense of development instead of repetition. Taken together, they make the Bandcamp account feel less like an archive and more like an active record of a band refining its direction.

A further chapter is already taking shape. Promotion is expected to begin this fall for “A Drop of Water,” the first single from the forthcoming album The Weight of Empty Space. The unreleased track was written quickly during a studio session and later completed with lyrics by Lorenzo Vincenzo Nocerino. It was produced by Peter and mixed and mastered by Tue Madsen at Ant Farm Studio, with Alessandro Medri, Konstantin Raidovski, and Paolo Conte contributing to the recording.

For now, the Bandcamp page offers the clearest entry point into the band’s available work. It shows how No Stone Left Unturned can present different shades of rock and metal while keeping its catalog connected by a clear and recognizable creative purpose. With two releases available and a larger album campaign approaching, the page captures a project still defining its next major phase in public. No Stone Left Unturned presents its music as an evolving body of work, with the current catalog laying the groundwork for what comes next.

Sylosis | The New Flesh You know what always bothered me about Sylosis?

Not the music. Never the music.

It is the fact that for nearly twenty years now I still feel like I am explaining this band to people who should already know better. That weird middle ground they occupy, too big to be underground, too stubborn and riff obsessed to become proper mainstream metal darlings. I have had this same conversation since the Monolith days. Somebody mentions modern metal, starts listing bands that sound like they were assembled in laboratories by producers wearing backwards caps, and there I am again, the tired Portuguese bloke at the end of the table muttering “yeah but what about Sylosis you dumbass?”

The New Flesh feels like the sound of a band accepting exactly what they are. Not reinventing themselves. Not trying to relive Edge Of The Earth either, despite what some older fans probably still want. Those days are gone. I made peace with that years ago, somewhere between replaying old Emperor records at stupid volume and realising my knees now hurt after standing through entire concerts. Age humiliates everybody eventually.

Still, there is something admirable about the way Josh Middleton keeps dragging this band forward. At this point he basically is Sylosis. Last original member standing, carrying the whole thing on his back like some exhausted fantasy knight wandering through a dying kingdom with a broken sword and pure spite keeping him upright. Maybe that sounds dramatic, but metal has always deserved drama. That is half the point.

The record itself is leaner than old Sylosis. More direct. Less interested in disappearing into long progressive detours. Sometimes I miss that. I will admit it openly. I miss when metal bands were not afraid to get lost inside songs for eight or nine minutes just because they could. Maybe growing up on Pink Floyd, old Opeth and ridiculous Bal Sagoth records permanently damaged my brain. Could be worse.

But the thing is, The New Flesh works precisely because it understands restraint.

Beneath The Surface kicks the door open immediately with that violent mix of groove, melodeath and modern metalcore aggression, and from there the whole album moves with this sense of physical momentum. That word kept coming back into my head while listening to it. Physical. You can practically see the live setting baked into these songs. Sweaty clubs. Festival pits. Plastic beer cups flying through the air. Big stupid grins from people about to destroy their cervical vertebrae.

And honestly, good.

Metal forgot how to do that for a while.

Too much sterile perfection these days. Too much music that feels assembled on laptops instead of written by angry human beings. Sylosis still understand the sacred power of the riff. That old instinct Sabbath understood. Maiden understood. Testament understood. You give people riffs strong enough and they will follow you into war.

Middleton absolutely delivers on that front. The guitar work across this album is vicious without disappearing into pointless technical masturbation. That balance matters. A lot of modern players forget songs are supposed to live beyond YouTube clips titled INSANE GUITAR SKILLS COMPILATION or whatever nonsense algorithm culture feeds people now.

His vocals sound better than ever too. The harsh vocals especially. There is real venom in them. Not theatrical anger. Not fake tough guy nonsense. Genuine exhaustion and disgust boiling underneath everything. The clean vocals still will not convince everybody, and yeah, Erased leans dangerously close to modern metalcore territory at points, but even there the sheer conviction behind the performance saves it from collapsing into generic sludge.

And Ali Richardson, good boy. The drumming on this thing. All Glory, No Valour especially sounds like somebody chasing you downhill with a hammer.

That song actually reminded me of listening to the original old thrash bands in my shitty PC speakers, downloaded from AudioGalaxy, burned into cheap CD's, played over and over again in a wonky discman.

Mirror Mirror and Spared From The Guillotine push deeper into that hostility. Pure bile and paranoia running through both tracks. Then Adorn My Throne arrives with a broader atmosphere, almost cinematic without becoming pretentious about it. Sylosis have always been good at that balancing act. Just enough melody and atmosphere to widen the landscape without drifting into self indulgence.

Then the title track arrives and everything suddenly feels heavier somehow. The New Flesh has this ugly swagger to it. Like the album finally stops pretending there is any optimism left whatsoever. Massive grooves. World weary lyrics. Middleton practically sounds done with humanity altogether. Fair enough. Most days I understand the feeling completely. Spend ten minutes reading social media comments and suddenly Darkthrone starts sounding reasonable.

Now, Everywhere At Once. I already know some idiots are going to dislike this song. Maybe they already do. And I get it. It absolutely interrupts the flow of the album. The shift toward vulnerability is jarring on purpose. Acoustic passages, emotional openness, themes of distance and family and absence. I FUCKING LOVE IT. Maybe because life gets heavier in quieter ways as you age. Friends disappear into marriages, children, jobs, funerals, debt, illness. Suddenly songs about exhaustion and distance hit harder than another hundred blastbeats ever could. Funny how that works.

Circle Of Swords comes crashing in afterwards like somebody kicking open church doors during a funeral and starting a knife fight beside the coffin. Absolute whiplash. Exactly what the album needs at that moment. And from there Seeds In The River closes things out beautifully, pulling together melody, violence, atmosphere and melancholy into one final climb toward the horizon.

The album is not perfect.

The production is too polished sometimes. The bass disappears more than it should. A few transitions lean too heavily on modern groove metal habits that start feeling familiar after a while. Fans wanting the huge progressive ambition of older Sylosis records probably will not find it here either.

But honestly?

I would rather hear a band evolve imperfectly than calcify into self parody.

That is what makes The New Flesh work for me. It sounds hungry. Not desperate. Hungry. There is a difference. Too many metal bands reach a point where they are basically tribute acts covering their own past. Sylosis still sound like they have something to prove, even after all these years grinding away in the background while lesser bands somehow leapfrog them commercially. Metal is unfair like that sometimes.

Then again, metal has always been full of overlooked bands. That is part of the mythology too. The secret treasures passed between obsessed fans like contraband. Tape trading never really died, it just changed shape.

And somewhere out there tonight, some teenager is probably hearing Sylosis for the first time through Beats headphones, in Spotify, feeling that same electric shock the rest of us felt years ago discovering bands that seemed too good to remain ignored.

Hopefully they pay attention faster than most people did.

7.5/10