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KXLG Community Connection: Deputy Trevor Schimmel & Dept. of Corrections Sgt. Shawn Nills
#KXLGCommunityConnection #KXLGNews #KXLGRadio991 #LiveandLocal
#LocalNews #WatertownSD #SouthDakota #news #KXLGCares -
KXLG Community Connection: Deputy Trevor Schimmel & Dept. of Corrections Sgt. Shawn Nills
#KXLGCommunityConnection #KXLGNews #KXLGRadio991 #LiveandLocal
#LocalNews #WatertownSD #SouthDakota #news #KXLGCares -
A few weeks ago, a bag of "Flamin Hot Dill Pickle Crunchy Cheetos" was brought into our household by my wife.
While we have no qualms about enjoying junk food - even the worst kinds of junk food - this was mainly meant as a joke, maybe a dare.
But we are out of all other snacks in the house, and so I am currently eating Flamin Hot Dill Pickle Crunch Cheetos.
AMA, my palate is an open book.
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Titans Sign QB Trevor Siemian, Release QB Tim Boyle
The Titans have not looked to add a quarterback in the wake of losing Will Levis for the season. The…
#NFL #TennesseeTitans #Tennessee #Titans #Football #LloydCushenberry #NewYorkJets #TimBoyle #transactions #TrevorSiemian
https://www.rawchili.com/nfl/284096/ -
Houston's Azeez Al-Shaair was suspended by the NFL without pay for three games Tuesday for repeated violations of player safety rules following his violent hit to the head of Jacksonville's Trevor Lawrence, which led to a concussion.
#Houston #Local #News #Sports #AzeezAlShaair #HoustonTexans #Nfl #Quarterback #Suspensions
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Redemption in Leith: the thread about HMS Cossack
The neat, well kept war graves at Seafield Cemetery include 5 men from the destroyer HMS Cossack, who lost their lives in an accident at sea on November 7th 1939, when their ship collided with the Leith steamer Borthwick off the Isle of May.
Grave marker stones for Roy Popple and Thomas C. Richmond © SelfGrave marker stones for William. H. Clarke and Stanley Cowan © SelfFour of the war grave headstones for men of HMS Cossack at Seafield cemetery in Leith. Photos © SelfThe protagonists in this accident were the Cossack, one of the Navy’s big, new “Tribal class” destroyers: two and a half thousand tons of guns and torpedoes which could cut through the sea at 36 knots (over 40mph).
Brand new, the Cossack in 1938. This photograph FL 1657 comes from the collections of the Imperial War MuseumsThe other was the George Gibson & Co. steamer Borthwick, a ship built and owned in Leith which plied the North Sea on the Antwerp and Rotterdam route. She was much smaller than the big warship’,; over 100 feet shorter, about 1/4 her displacement and barely capable of double digit speeds on her single steam engine which had an output 1/300th of that of Cossack.
The Borthwick. Like many George Gibson ships she was named after connections to the works of Walter Scott and the LothiansIt was a dark winter night on the Firth of Forth and ships were showing only the bare minimum of navigation lights. The Borthwick and Cossack were on a parallel course, heading east off the Isle of May, with the destroyer overtaking the little steamer when, for reasons of his own, Captain Daniel De Pass of the Cossack turned across the path of Borthwick. De Pass had a bit of a reputation for poor seamanship, having done something like this before on pre-war exercises. The outcome was inevitable, the bows of the Borthwick cutting into the side of Cossack, right into the seamen’s mess where the men were just sitting down to dinner. Three men died where they sat. Able Seaman Heatherley and Ordinary Seaman Clarke were pulled into the cold, dark North Sea as the water rushed in to their compartment, never to be seen again. Three more men were seriously injured (Ordinary Seaman Clifford Harmer would be invalided out of the Navy with a hand injury) and those in the mess below were trapped for an hour, up to their necks in water. Their ship limped back to Leith for extensive repairs, the men boarded in the Seamen’s Mission. In an interview in 2005, a survivor – Trevor Tipping – pointed out the steel plate of the ship was only 3/8 inch thick and “folded back, like a sardine tin” when the collision happened.
The Seamen’s Mission on the Shore in LeithThe repairs – by Leith shipyard Henry Robb – took almost 2 months and cost £11,250 (£504k in 2023). Captain De Pass faced a Board of Inquiry, which put him 75% at fault. He was court martialled, relieved of his command and posted away elsewhere before taking retirement. His replacement was the dashing yet thoroughly competent Captain Philip Vian.
Sir Phillip Vian (1894-1968), by Oswald Birley, from the Britannia Royal Naval CollegeThe men of Cossack, cooling their heels in Leith while their ship was repaired, raised a subscription to fund a memorial stoner to their lost shipmates out of their own pockets. It was erected in Seafield cemetery, and is situated by the Cossack war graves.
Memorial for the men lost on HMS Cossack in Seafield Cemetery. Photo © SelfThe Borthwick was patched up and soon back on the dangerous Leith to Holland route. She was sunk 4 months later – on March 9th 1940 – by the German submarine U-14 off the River Scheldt, on her way home from Rotterdam to Leith. All 21 on board survived and were picked up. The newspapers celebrated on 11th March when news reached home that the men of the Borthwick had all been landed safely in Flushing.
Captain Simpson (right) and Chief Officer Jeffrey (left) of the Borthwick, on their return home after being sunkCossack did not leave Leith until 10th January, but was back 3 days later for more repairs after an embarrassing – but fortunately minor – collision with the cable laying ship Royal Scot in Leith Roads. She left again, returning to the 4th Destroyer Flotilla with Captain Vian now installed in command. But she wouldn’t be gone long and would return with the month. This time should would be an international hero, the victor of the daring “Altmark Incident“, a swashbuckling tale that can always do with retelling.
On the face of it, Altmark was a humble German merchant ship. In reality, she was a supply tanker for the Kriegsmarine – the German Navy – and had on board almost 300 British and Allied prisoners, merchant seamen whose ships had been sunk by the “pocket battleship” commerce raider Admiral Graf Spee in the South Atlantic.
A photo of the Altmark in Jøssingfjord , Norway.The Graf Spee had been scuttled just off Montevideo after the Royal Navy had cornered her into a fight in the Battle of the River Plate on December 17th – while Cossack was laid up in a Leith drydock undergoing repairs. Before the battle she had transferred most of her prisoners to her supply ship, which was heading back to Germany. Conditions on board caused the British press to call her a “hell ship” and a “floating concentration camp“.
Admiral Graf Spee shortly after her scuttling. Toronto Telegram collection, via. University of York, Canada.Captain Dau of the Altmark intended to sneak back home by hugging the coasts of the (then) neutral Greenland, Iceland and Norway. He had almost made it when, on Feb. 15th, reconnaissance aircraft out of RAF Leuchars spotted her in Norwegian waters off Bergen. The British destroyers HMS Ivanhoe and Intrepid from Vian’s squadron made to board her but the Altmark sought refuge in the safety of Jøssingfjord. The Royal Navy could only look on as the German ship was escorted into the fjord by the Norwegian Navy, who politely but firmly affirmed their neutrality and turned the British ships around.
HMS Intrepid attempting to board Altmark as it runs for the sanctuary of JøssingfjordCaptain Vian, as commander of the squadron, made contact with the ancient Norwegian gunboat Kjell but was asshured that the Norwegian had searched the Altmark, that all was in order and it was a simple German merchant ship and not an armed, Kriegsmarine prison ship. Vian knew this was rubbish, but had no option but to retreat a respectful distance and to signal the Admiralty for orders.
Norwegian navy gunboat Kjell, around the time of the Altmark IncidentFurther reconnaissance flights by the Royal Air Force confirmed that the Altmark was safely holed up right at the end of Jøssingfjord. Meanwhile, Vian’s signal found its way to the desk of the First Lord of the Admiralty, a man who had a reputation for sticking his oar in to operational matters and trying to direct operations from Whitehall. You might be familiar with his name, it was Winston Churchill.
Aerial photo of Altmark in Jøssingfjord.Photograph CS 24 from the collection of the Imperial War MuseumsChurchill sent Vian a signal telling him that if the Altmark wasn’t escorted to Bergen for inspection under a joint Anglo-Norwegian guard, he was to board her and free the prisoners, that he had permission to use lethal force in order to do so and that he was to politely but firmly make sure the Royal Norwegian Navy butted out of matters. This was a blatant violation of Norwegian neutrality of course, but there was not a lot the little old gunboat Kjell could do to stop the Cossack beyond yell at her – Vian had permission to fire on her if they fired first, but to stop when they stopped.
And so Vian was set on a course of action and turned his ship around, entering the mouth of Jøssingfjord at 2200 hours on February 16th 1940. He once more went on board the Kjell, this time to give her Captain the ultimatum to either escort the Altmark to Bergen with him, or step aside. When he declined, Vian invited him aboard the Cossack for a grandstand view of what was about to follow, but again he declined. On board the Altmark, Captain Dau saw the threatening shape of the destroyer looming down the Fjord towards him. At first he made to ram her, but instead ended up running his ship aground instead. He next tried to dazzle the Cossack with his searchlight, but the British ship was brought skillfully alongside and in true Nelsonian fashion, a party of 2 officers and 30 men leapt across the gap and boarded the German ship. Legend has it that 4 cutlasses, kept on board for ceremonial purposes, were carried by the boarding party. If true, it would be the last boarding action in which such a weapon was known to be used in anger.
Painting of the boarding of the Altmark by Charles PearsThere was a brief skirmish on board but the German crew were soon overpowered. Just as things were almost over however, a German sailor fired at and injured a British sailor, and for his trouble 9 of his shipmates were shot and wounded in the return fire; 4 died and a further 4 were fatally wounded. Having taken the Altmark, the boarders now combed the ship looking for the captives they knew were held somewhere within. One sailor called “Any Englishmen in there?” into a dark hold and on hearing a cheer replied the immortal words “The Navy’s here! Come up out of it!“
Book cover, “The Navy’s Here” by Frischauer & JacksonLess than two hours after she first entered the fjord, Vian’s ship was on her way out again with 299 freed prisoners on board (including one, an Indian seaman, suffering from Leprosy). She plotted a course for Leith and set off for home at top speed. The Cossack had last entered Leith with a cloud hanging over her reputation, but on her return on February 17th she did so triumphantly. The press cameras were assembled and waiting to welcome her back and to make the most out of this propaganda opportunity.
HMS Cossack coming alongside in Leith, with some of the Altmark prisoners aboardAmbulances were ready and waiting to take the injured away to hospital while the newsreel cameras rolled.
Cossack at Leith, with assembled crowds and waiting ambulancesIt was a rare bit of good news so early in the war, so reporting restrictions were not observed. The Scotsman carried a full page spread of photos. Many of those pictured coming ashore had lost all their possessions, some had been prisoners for almost 6 months and their families had no word of what had become of them. For weeks the papers were full of stories of reunions and heroes welcomes.
The former prisoners of the Altmark coming ashore at Leith. Pictures from The Scotsman, 19th February 1940The Dundee Courier and Advertiser printed a picture of some 1940s medical care, with a nurse at Leith Hospital lighting a recuperative cigarette for Third Officer Leslie Ross of the ship Huntsman. 250 of the his companions were sent to the Eastern General Hospital in Leith for attention, with officials from the City and the Shipwrecked Mariner’s Society on hand to sort out replacement clothing, papers, money, cigarettes etc. and arrange lodging and travel. The sailor who had been suffering from Leprosy was taken to the Infectious Diseases Hospital (the “City Hospital”).
Leslie Ross in a Leith hospital, Dundee Courier, Monday 19th February 1940In Stornoway, the Daily Record interviewed the 75 year old Elizabeth Mackenzie of Newton Street, who had not heard from her merchant seaman son – Donald Morrison – for over a year. She was making a public appeal for his whereabouts, he had last written to her over a year ago and was last known to be on the SS Newton Beech: that ship had been sunk by the Graf Spee on 5th October 1939. “I have been very worried because I am going blind, and I am living here with a brother who is over 80” she told the reporter. “I haven’t many friends, but the Lord is my friend, and that is enough.” The happy news about the safety of her son was soon brought to her by Donald Macleod, another Leodsach sailor who had been with him on the Altmark. “It is good news my boy is safe” she told the Record. Donald Murdo Macleod of Tolsta Chaolais had been on the SS Tairoa which had been intercepted by the Graf Spee in the middle of the South Atlantic on December 2nd 1939. Tairoa had been the penultimate victim of the German raider, and had managed to transmit a distress signal that eventually allowed the the Royal Navy to catch up with her assailant.
The crew of the Newton Beech rowing away from their abandoned ship towards imprisonment on the Graf SpeeDonald Morrison however seemed reluctant to return home and instead went to Hull, telling Macleod to let his mother know he “might go home later“. Instead he went back to sea. It seems the whole experience may have left an indelible mark on him and changed his character. He forfeited bail of £1 in Buckhaven on a charge of drunkeness in February 1941. He was soon in trouble again for going absent from his ship. In May 1941 he was hauled before the Lord Mayor of Portsmouth at the Police Court there, again for deserting a ship. Morrison could offer no explanation for being 31 hours overdue and potentially making his ship miss its convoy, beyond “I just had a good time, that is all“. The Master had dismissed him but told the court he was of good character and had been through “unpleasant experiences” and would gladly take him back again. It turned out Morrison had another ship sunk from underneath him recently and had once again lost all his papers and possessions. The Lord Mayor fined him £5 (half a month’s wages) and allowed him to return to his ship on account of his value to the war effort. He won’t have been the only merchant sailor in the War in the Atlantic to have an experience such as this, and in retrospect we can understand his reluctance to return to his ship and potential death and to want to have one more night of fun on earth…
Back in Leith, the Fife Free Press reported that the Altmark Incident was commemorated with the gift of £500 to the Leith Hospital by an anonymous benefactor on the condition that a bed be dedicated to HMS Cossack for rescuing the prisoners. For his “outstanding ability, determination and resource” and “for daring, leadership and masterly handling of his ship“, Captain Vian received the Distinguished Service Order medal and was promoted off of Cossack in July 1941. He would go on to have a glittering wartime career, and would retire in 1952 as Admiral of the Fleet. Cossack had an eventful 18 months after the Altmark, taking part in the 2nd Battle of Narvik and the hunt for the German Battleship Bismarck
The ship’s luck would soon run out however and she was torpedoed and sunk in October 1941 by the German submarine U-563, west of Gibraltar. In November 1941, the Edinburgh Evening News reported that three local men were missing, presumed killed, from her:
- Petty Officer Alexander Burton Colthart, 22, 20 India Place
- Petty Officer Douglas Maurice Gammack, 32 Parsons Green Terrace
- Assistant Cook Robert “Sonny” O’Hara, 23, 205 Crewe Road North
Her cat, Oskar, survived this sinking: legend has it that he had been the ship’s cat on the Bismarck and was plucked from the Atlantic by Cossack after her sinking. His name was said to have been derived from the code letter for “O” (with a German spelling) which was used to mean “man overboard“. Further legend has it that after surviving the loss of his second home he went on to serve on HMS Ark Royal and survived her sinking also. The whole thing was probably just a sailor’s yarn but Unsinkable Sam has garnered a cult following on the internet: you will find Facebook pages, pop history articles, Youtube videos and even computer game cameos in his memory.
Ship’s cat Oskar, or Unsinkable Sam.Note to readers: unfortunately in April 2026, a third-party plug-in more than exceeded its authority and broke many of the image links on this site. No images were lost but I will have to restore them page-by-page, which may take some time. In the meantime please bear with me while I go about rectifying this issue.
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#Lochend #Logan #Restalrig #StMargaret -
A discussion elsewhere just reminded me of this classic Common performance w/Macy Gray on Leno, and it just made me get super nostalgic for a very particular musical moment, and maybe a personal one, too.
Common - Ghetto Heaven (TSOP Remix version w/Macy Gray)
https://www.youtube.com/watch?v=RLBvx1bJ4fY
I remember getting so excited by this and had the foresight to record that ish on VHS. I ran it back IMMEDIATELY, and again, and again.
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Stuck in the Filter: February 2026’s Angry Misses By KenstrositySeems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!
Kenstrosity’s Tattered Tome
Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.
Andy-War-Hall’s Primordial Pick-Up
The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!
Saunders’ Sunken Shards
Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.
Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]
You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”
Grin Reaper’s Reaped Recluse
Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]
Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.
Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.
Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]
Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.
Tyme’s Danish Dalliance
Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.
Creeping Ivy’s Ashen Afterthought
Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]
In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.
Baguette’s Bygone Bounty
Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]
Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!
Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.
ClarkKent’s Enchanting Earworm
Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!
Spicie Forrest’s Vicious Vittles
A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]
A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.
Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]
Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.
#APerfectCirlce #AReignToConquer #AWilhelmScream #Aeternam #AlchemyOfFlesh #AlchemyRecordings #AmericanMetal #ArduaMusic #Atheist #AtmosphericBlackMetal #AustralianMetal #Autrest #ÆdelFetich #BanabdjedSPath #Belzebong #BlackMetal #BlackSabbath #BluesRock #Bongripper #Bongzilla #CânBardd #CanadianMetal #CheapHeat #ChileanMetal #ColdCommunion #CreatorDestructorRecords #DanishMetal #DaylightDies #DeadbangerProductions #Death #DeathDoom #DeathDriveAnthropology #DeathMetal #Doom #DoomMetal #ElectricWizard #EsotericEvocations #Europe #FinnishMetal #FrontiersMusic #GermanMetal #GlamRock #HanoiRocks #HardRock #Hardcore #HeavyMetal #HeavyPsychSounds #Hela #Hellripper #HighRollerRecords #InFlames #InexorableOpposites #Insomnium #Iotunn #JackHarlonTheDeadCrows #JudasPriest #Katatonia #LeadInjector #MagneticEyeRecords #MaudTheMoth #MelodicDeathMetal #MelodicDoomMetal #MelodicHardcore #MetallicPunk #MonumentsToRuin #Mossgiver #Naglfar #Nile #NormalIsnT #OfVulturesAndDragons #Ossomancer #Overtoun #Pestilence #PolishMetal #ProgressiveMetal #PsychedelicMetal #PsycheledicRock #Puscifier #Renewer #RiseAgainst #Rush #SaintVitus #SelfRelease #SelfReleased #SijMusicArt #SilentVigil #Sleep #SlovenianMetal #SpanishMetal #StonerMetal #SuncrusherRecordings #Sundecay #TechnicalDeathMetal #TempleBalls #TheBloodLivesAgain #TheEndIsHigh #TheGrandMyth #TheHoleum #TheSandCollector #TheStorySoFar #ThrashMetal #TimeToKillRecords #Tool #Trhä #Victorius #WitchingAttack -
Stuck in the Filter: February 2026’s Angry Misses By KenstrositySeems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!
Kenstrosity’s Tattered Tome
Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.
Andy-War-Hall’s Primordial Pick-Up
The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!
Saunders’ Sunken Shards
Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.
Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]
You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”
Grin Reaper’s Reaped Recluse
Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]
Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.
Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.
Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]
Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.
Tyme’s Danish Dalliance
Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.
Creeping Ivy’s Ashen Afterthought
Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]
In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.
Baguette’s Bygone Bounty
Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]
Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!
Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.
ClarkKent’s Enchanting Earworm
Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!
Spicie Forrest’s Vicious Vittles
A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]
A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.
Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]
Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.
#APerfectCirlce #AReignToConquer #AWilhelmScream #Aeternam #AlchemyOfFlesh #AlchemyRecordings #AmericanMetal #ArduaMusic #Atheist #AtmosphericBlackMetal #AustralianMetal #Autrest #ÆdelFetich #BanabdjedSPath #Belzebong #BlackMetal #BlackSabbath #BluesRock #Bongripper #Bongzilla #CânBardd #CanadianMetal #CheapHeat #ChileanMetal #ColdCommunion #CreatorDestructorRecords #DanishMetal #DaylightDies #DeadbangerProductions #Death #DeathDoom #DeathDriveAnthropology #DeathMetal #Doom #DoomMetal #ElectricWizard #EsotericEvocations #Europe #FinnishMetal #FrontiersMusic #GermanMetal #GlamRock #HanoiRocks #HardRock #Hardcore #HeavyMetal #HeavyPsychSounds #Hela #Hellripper #HighRollerRecords #InFlames #InexorableOpposites #Insomnium #Iotunn #JackHarlonTheDeadCrows #JudasPriest #Katatonia #LeadInjector #MagneticEyeRecords #MaudTheMoth #MelodicDeathMetal #MelodicDoomMetal #MelodicHardcore #MetallicPunk #MonumentsToRuin #Mossgiver #Naglfar #Nile #NormalIsnT #OfVulturesAndDragons #Ossomancer #Overtoun #Pestilence #PolishMetal #ProgressiveMetal #PsychedelicMetal #PsycheledicRock #Puscifier #Renewer #RiseAgainst #Rush #SaintVitus #SelfRelease #SelfReleased #SijMusicArt #SilentVigil #Sleep #SlovenianMetal #SpanishMetal #StonerMetal #SuncrusherRecordings #Sundecay #TechnicalDeathMetal #TempleBalls #TheBloodLivesAgain #TheEndIsHigh #TheGrandMyth #TheHoleum #TheSandCollector #TheStorySoFar #ThrashMetal #TimeToKillRecords #Tool #Trhä #Victorius #WitchingAttack -
Stuck in the Filter: February 2026’s Angry Misses By KenstrositySeems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!
Kenstrosity’s Tattered Tome
Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.
Andy-War-Hall’s Primordial Pick-Up
The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!
Saunders’ Sunken Shards
Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.
Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]
You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”
Grin Reaper’s Reaped Recluse
Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]
Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.
Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.
Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]
Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.
Tyme’s Danish Dalliance
Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.
Creeping Ivy’s Ashen Afterthought
Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]
In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.
Baguette’s Bygone Bounty
Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]
Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!
Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.
ClarkKent’s Enchanting Earworm
Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!
Spicie Forrest’s Vicious Vittles
A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]
A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.
Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]
Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.
#APerfectCirlce #AReignToConquer #AWilhelmScream #Aeternam #AlchemyOfFlesh #AlchemyRecordings #AmericanMetal #ArduaMusic #Atheist #AtmosphericBlackMetal #AustralianMetal #Autrest #ÆdelFetich #BanabdjedSPath #Belzebong #BlackMetal #BlackSabbath #BluesRock #Bongripper #Bongzilla #CânBardd #CanadianMetal #CheapHeat #ChileanMetal #ColdCommunion #CreatorDestructorRecords #DanishMetal #DaylightDies #DeadbangerProductions #Death #DeathDoom #DeathDriveAnthropology #DeathMetal #Doom #DoomMetal #ElectricWizard #EsotericEvocations #Europe #FinnishMetal #FrontiersMusic #GermanMetal #GlamRock #HanoiRocks #HardRock #Hardcore #HeavyMetal #HeavyPsychSounds #Hela #Hellripper #HighRollerRecords #InFlames #InexorableOpposites #Insomnium #Iotunn #JackHarlonTheDeadCrows #JudasPriest #Katatonia #LeadInjector #MagneticEyeRecords #MaudTheMoth #MelodicDeathMetal #MelodicDoomMetal #MelodicHardcore #MetallicPunk #MonumentsToRuin #Mossgiver #Naglfar #Nile #NormalIsnT #OfVulturesAndDragons #Ossomancer #Overtoun #Pestilence #PolishMetal #ProgressiveMetal #PsychedelicMetal #PsycheledicRock #Puscifier #Renewer #RiseAgainst #Rush #SaintVitus #SelfRelease #SelfReleased #SijMusicArt #SilentVigil #Sleep #SlovenianMetal #SpanishMetal #StonerMetal #SuncrusherRecordings #Sundecay #TechnicalDeathMetal #TempleBalls #TheBloodLivesAgain #TheEndIsHigh #TheGrandMyth #TheHoleum #TheSandCollector #TheStorySoFar #ThrashMetal #TimeToKillRecords #Tool #Trhä #Victorius #WitchingAttack -
Stuck in the Filter: February 2026’s Angry Misses By KenstrositySeems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!
Kenstrosity’s Tattered Tome
Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.
Andy-War-Hall’s Primordial Pick-Up
The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!
Saunders’ Sunken Shards
Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.
Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]
You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”
Grin Reaper’s Reaped Recluse
Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]
Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.
Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.
Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]
Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.
Tyme’s Danish Dalliance
Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.
Creeping Ivy’s Ashen Afterthought
Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]
In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.
Baguette’s Bygone Bounty
Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]
Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!
Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.
ClarkKent’s Enchanting Earworm
Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!
Spicie Forrest’s Vicious Vittles
A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]
A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.
Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]
Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.
#APerfectCirlce #AReignToConquer #AWilhelmScream #Aeternam #AlchemyOfFlesh #AlchemyRecordings #AmericanMetal #ArduaMusic #Atheist #AtmosphericBlackMetal #AustralianMetal #Autrest #ÆdelFetich #BanabdjedSPath #Belzebong #BlackMetal #BlackSabbath #BluesRock #Bongripper #Bongzilla #CânBardd #CanadianMetal #CheapHeat #ChileanMetal #ColdCommunion #CreatorDestructorRecords #DanishMetal #DaylightDies #DeadbangerProductions #Death #DeathDoom #DeathDriveAnthropology #DeathMetal #Doom #DoomMetal #ElectricWizard #EsotericEvocations #Europe #FinnishMetal #FrontiersMusic #GermanMetal #GlamRock #HanoiRocks #HardRock #Hardcore #HeavyMetal #HeavyPsychSounds #Hela #Hellripper #HighRollerRecords #InFlames #InexorableOpposites #Insomnium #Iotunn #JackHarlonTheDeadCrows #JudasPriest #Katatonia #LeadInjector #MagneticEyeRecords #MaudTheMoth #MelodicDeathMetal #MelodicDoomMetal #MelodicHardcore #MetallicPunk #MonumentsToRuin #Mossgiver #Naglfar #Nile #NormalIsnT #OfVulturesAndDragons #Ossomancer #Overtoun #Pestilence #PolishMetal #ProgressiveMetal #PsychedelicMetal #PsycheledicRock #Puscifier #Renewer #RiseAgainst #Rush #SaintVitus #SelfRelease #SelfReleased #SijMusicArt #SilentVigil #Sleep #SlovenianMetal #SpanishMetal #StonerMetal #SuncrusherRecordings #Sundecay #TechnicalDeathMetal #TempleBalls #TheBloodLivesAgain #TheEndIsHigh #TheGrandMyth #TheHoleum #TheSandCollector #TheStorySoFar #ThrashMetal #TimeToKillRecords #Tool #Trhä #Victorius #WitchingAttack -
Janet's "I Get Lonely" is such a jam
Saba and NoID repurposed it o their "Breakdown", off their album last year, and it's kind of wild no one did that before.
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Sprung From the Attic, Flannery O’Connor’s Artworks See the Light
(Some cool backstory here, and a few images of her visual art, too)
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Sprung From the Attic, Flannery O’Connor’s Artworks See the Light
(Some cool backstory here, and a few images of her visual art, too)
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Trevor Ashley - A Million Years of Minnelli. Garrick Theatre. #westend #london #tickets #uktheatre #cabaret https://www.uktw.co.uk/L2125791601/
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Trevor Ashley - A Million Years of Minnelli. Garrick Theatre. #westend #london #tickets #uktheatre #cabaret https://www.uktw.co.uk/L01319510162/
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Stuck in the Filter: February 2026’s Angry Misses By KenstrositySeems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!
Kenstrosity’s Tattered Tome
Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.
Andy-War-Hall’s Primordial Pick-Up
The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!
Saunders’ Sunken Shards
Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.
Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]
You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”
Grin Reaper’s Reaped Recluse
Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]
Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.
Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.
Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]
Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.
Tyme’s Danish Dalliance
Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.
Creeping Ivy’s Ashen Afterthought
Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]
In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.
Baguette’s Bygone Bounty
Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]
Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!
Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.
ClarkKent’s Enchanting Earworm
Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!
Spicie Forrest’s Vicious Vittles
A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]
A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.
Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]
Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.
#APerfectCirlce #AReignToConquer #AWilhelmScream #Aeternam #AlchemyOfFlesh #AlchemyRecordings #AmericanMetal #ArduaMusic #Atheist #AtmosphericBlackMetal #AustralianMetal #Autrest #ÆdelFetich #BanabdjedSPath #Belzebong #BlackMetal #BlackSabbath #BluesRock #Bongripper #Bongzilla #CânBardd #CanadianMetal #CheapHeat #ChileanMetal #ColdCommunion #CreatorDestructorRecords #DanishMetal #DaylightDies #DeadbangerProductions #Death #DeathDoom #DeathDriveAnthropology #DeathMetal #Doom #DoomMetal #ElectricWizard #EsotericEvocations #Europe #FinnishMetal #FrontiersMusic #GermanMetal #GlamRock #HanoiRocks #HardRock #Hardcore #HeavyMetal #HeavyPsychSounds #Hela #Hellripper #HighRollerRecords #InFlames #InexorableOpposites #Insomnium #Iotunn #JackHarlonTheDeadCrows #JudasPriest #Katatonia #LeadInjector #MagneticEyeRecords #MaudTheMoth #MelodicDeathMetal #MelodicDoomMetal #MelodicHardcore #MetallicPunk #MonumentsToRuin #Mossgiver #Naglfar #Nile #NormalIsnT #OfVulturesAndDragons #Ossomancer #Overtoun #Pestilence #PolishMetal #ProgressiveMetal #PsychedelicMetal #PsycheledicRock #Puscifier #Renewer #RiseAgainst #Rush #SaintVitus #SelfRelease #SelfReleased #SijMusicArt #SilentVigil #Sleep #SlovenianMetal #SpanishMetal #StonerMetal #SuncrusherRecordings #Sundecay #TechnicalDeathMetal #TempleBalls #TheBloodLivesAgain #TheEndIsHigh #TheGrandMyth #TheHoleum #TheSandCollector #TheStorySoFar #ThrashMetal #TimeToKillRecords #Tool #Trhä #Victorius #WitchingAttack -
PFF ranks Colts as having a ‘middle-of-the-pack’ receiving corps headed into 2025
According to PFF’s Trevor Sikkema, the Indianapolis Colts have the NFL’s 17th best receiving corps headed into the…
#NFL #IndianapolisColts #Indianapolis #Colts #a #analysis #as #blue #corps #Football #front-page #having #headed #indianapolis-colts-news #into #middle #of #pack #pff #ranks #receiving #stampede #the
https://www.rawchili.com/nfl/137634/ -
https://www.europesays.com/africa/?p=213199 An exclusive look into Hidden Gems: South Africa through the eyes of its creators, Trevor Kaplan & Nico Nel #BbcLifestyle #ECO #experience #GlamourSouthAfrica #HiddenGems #instagram #instagrammable #KleinKaroo #NicoNel #NicoNelLuxury #Nico:Travel #Nico:Trevor #PdProduction #PostCovid #SouthAfrica #TrevorKaplan #Trevor:Travel #Trevor:Yes #urban
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Although I reading two hefty books right now, the end of the semester has me wanting to line up a whole list of books to binge once grades are submitted.
With that in mind, Pulitzer prizes/finalists just announced. For Fiction, *Angel Down* (Daniel Kraus) wins, with Katie Kitamura's *Audition* and Torrey Peters's *Stag Dance* as finalists.
Angel Down and Audition were both on my big "would like to read" list. Don't know that I've heard of Stag Dance? Not ringing a bell, anyway.
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Janet's "I Get Lonely" is such a jam
Saba and NoID repurposed it o their "Breakdown", off their album last year, and it's kind of wild no one did that before.
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Janet's "I Get Lonely" is such a jam
Saba and NoID repurposed it o their "Breakdown", off their album last year, and it's kind of wild no one did that before.
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Janet's "I Get Lonely" is such a jam
Saba and NoID repurposed it o their "Breakdown", off their album last year, and it's kind of wild no one did that before.
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Janet's "I Get Lonely" is such a jam
Saba and NoID repurposed it o their "Breakdown", off their album last year, and it's kind of wild no one did that before.
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If I wrote recipes, I'd go out of my way to use the verb "pulverize" at least once.
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More proof: an inventory of oversized items in the #ALA archives at #UIUC includes the KRS-One poster:
https://files.archon.library.illinois.edu/alasfa/1203012a.pdf
Also lists a lot of other READ poster stars including some surprises, like Mikhail Baryshnnikov? Huh.
Fabio.
Billy Dee Williams.
So, now to find an actual copy of the KRS-One poster.
