#australianmetal — Public Fediverse posts

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Thornhill Bodies
Bandcamp link
https://thornhillmelb.bandcamp.com/album/bodies

FFO Northlane

#AlternativeMetal #Djent #ProgressiveMetal #AustralianMetal

Now playing

Thornhill Bodies
Bandcamp link
https://thornhillmelb.bandcamp.com/album/bodies

FFO Northlane

#AlternativeMetal #Djent #ProgressiveMetal #AustralianMetal

Now playing

Thornhill Bodies
Bandcamp link
https://thornhillmelb.bandcamp.com/album/bodies

FFO Northlane

#AlternativeMetal #Djent #ProgressiveMetal #AustralianMetal

Now playing

Thornhill Bodies
Bandcamp link
https://thornhillmelb.bandcamp.com/album/bodies

FFO Northlane

#AlternativeMetal #Djent #ProgressiveMetal #AustralianMetal

Now playing

Thornhill Bodies
Bandcamp link
https://thornhillmelb.bandcamp.com/album/bodies

FFO Northlane

#AlternativeMetal #Djent #ProgressiveMetal #AustralianMetal

Seems 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.

Seems 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.

Seems 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.

Seems 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.

Seems 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.

In Malice’s Wake – The Profound Darkness Review

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s…
#NewsBeep #News #Music #2026 #3.5 #AustralianMetal #CA #Canada #DeathMetal #Dissection #Entertainment #Harlott #InMalice'sWake #May26 #PowerTrip #review #reviews #SelfRelease #Sepultura #Slayer #Testament #TheProfoundDarkness #ThrashMetal
https://www.newsbeep.com/ca/636896/

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

“He who sees the world beyond is forever haunted.” So claims the Australian death thrash unit In Malice’s Wake as heard on “Beyond Death” from their latest record, The Profound Darkness. IMW last scourged the Earth with 2020’s The Blindness of Faith, a sprawling, somewhat bloated collection of bulldozing thrash metal condemnations of religious manipulation and ignorance. With four original LPs and twenty-four years of independent musicianship under them, guitarist Leigh Bartley (Harlott), bassist Karl Watterson, drummer Mark Farrugia, and guitarist/vocalist Shaun Farrugia have returned with The Profound Darkness. This time, IMW turn their focus from ire against religion towards rumination on death and the turmoil surrounding the uncertainty thereafter. Tackling as heavy a subject as one could ask for, can In Malice’s Wake deliver us the cold terror of the grave, or is The Profound Darkness more superficial than they’d like us to think?

In Malice’s Wake on The Profound Darkness still sling a most deathly thrash. The Profound Darkness is supercharged with beefy riffs, pummeling rhythms, and bellowing screams. Testamental groove and Power Tripping hardcore DNA bristle on The Profound Darkness, but In Malice’s Wake thrash primarily under the schools of Slayer and Sepultura, encrusted with lightning-fast chromatic riffs, punishing and intricate drumming (“The Great Purifier”) and wailing guitar dives (“Numb to Paradise”) under the singular aim of sounding as evil as possible. IMW’s deeper extreme metal influences manifest in death metal riffing and vox and in the blackened tremolo leads of “The Last Song”1 and the Dissection x Slayer ”The Darkness Below Us.” The only major shift from The Blindness of Faith to The Profound Darkness is in editing, as IMW’s new record is over ten minutes shorter than their last through tighter songwriting. One thing’s for sure: In Malice’s Wake are still as hostile as ever.

In Malice’s Wake sounds great when they hit the right balance of technicality and immediacy. The Profound Darkness is busy, but never noodly or extravagant. Songs like “Upon My Flesh” and “By Tongues of Demons” exercise scathing, headbangable riffcraft while fitting in a lot more notes than expected, given their lizard-brained appeal. Similarly, Mark Farrugia’s sneaks just enough flare into his drumming while keeping to the pocket, dropping some nimble kicks and cymbals over “Beyond Death” and “The Great Purifier” amidst his blistering assault on the senses. Small touches make a big difference on The Profound Darkness, most notably the multitudes of brief guitar solos littering songs like “Beyond Death,” “The Darkness Below Us,” and “The Great Purifier.” IMW can shred like crazy but choose to cut themselves short, which keeps The Profound Darkness lean and focused, and the listener wanting more, which there will be. The Profound Darkness is an expertly written and performed album by musicians who know to put the needs of their songs first and when and where to let it rip.

The Profound Darkness is less bloated than The Blindness of Faith, but In Malice’s Wake lost a little something in the process of slimming down. “The Last Song” and “Away from the Light” are as tight and fiery as IMW’s best stuff, but lack the breathing room to grow and wrap all of their riffs and ideas into complete packages. The Profound Darkness’ mix also lacks breathing room, and though it’s not totally brickwalled, it takes its toll on the ears by the end. Further, these songs aren’t as memorable as The Blindness of Faith. I’ve spent far more time with The Profound Darkness and yet can’t recall much from it, as well as the Sepultura-worshiping title track, the mind-freakery of “To Die as One,” or the tribalistic pulse of “Ritual Slaughter.” There is variety here, particularly in the blackened opulence of closer “The Darkness Below Us,” but I wish In Malice’s Wake had taken just a few more eccentric paths in uncovering The Profound Darkness.

However, whatever problems I see in The Profound Darkness can’t detract from its sheer electricity. Every riff hits, every rasp is bilious, and In Malice’s Wake never let up to give you a chance at getting bored. Old fans won’t find much to complain about here. Fans of thrash and/or death yet unfamiliar with IMW may find themselves caught up in the Wake. That promise of a haunting—of coming into gnosis of the paralyzing apprehension of death—is sometimes brushed against. Not many groups even get that, so give The Profound Darkness a shot if your evening plans include mortal dread anywhere.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: inmaliceswake.com | inmaliceswake.bandcamp | facebook.com/inmaliceswake
Releases Worldwide: May 1st, 2026

The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting.

In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit.

Mondo Tomorrow by The Neptune Power Federation

Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me.

As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive.

Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation
Releases Worldwide: April 10th, 2026

#ThursDeath for this week is the awesome, crushing debut LP by Adelaide, Australia's CHARNEL ALTAR from 2021. This fucker is heavier than shit. It both chugs and trudges along, it's really a ride. No track is shorter than 6 minutes, and most are longer-- the first is over 8. Blackened death doom of the finest caliber. Rotting and sorrow and worms.

https://charnelaltar.bandcamp.com/album/abatement-of-the-sun

#metal #DeathMetal #AustralianMetal #AustralianBands #Adelaide #CharnelAltar #DeathDoom #DoomMetal #doom #BlackMetal #BlackenedDoom #BlackenedDeath @wendigo @HailsandAles @guffo @c0m4 @rtw @swampgas @pephorror @nnenov @AlfeeDee @umrk @Kitty @flockofnazguls

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #Music #2026 #3.0 #Archspire #AustralianMetal #CA #Canada #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #Metalcore #PerpetualSelection #review #reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic
https://www.newsbeep.com/ca/542577/

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Archspire #AustralianMetal #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #Metalcore #PerpetualSelection #review #reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic
https://www.newsbeep.com/us/528983/

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Archspire #AustralianMetal #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #Metalcore #PerpetualSelection #review #reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic
https://www.newsbeep.com/us/528983/

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #Music #2026 #3.0 #Archspire #AU #Australia #AustralianMetal #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #metalcore #PerpetualSelection #review #reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic
https://www.newsbeep.com/au/546431/

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #Music #2026 #3.0 #Archspire #AU #Australia #AustralianMetal #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #metalcore #PerpetualSelection #review #reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic
https://www.newsbeep.com/au/546431/

Vanta – Perpetual Selection Review

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on…
#NewsBeep #News #Music #2026 #3.0 #Archspire #AustralianMetal #Entertainment #FreedomofFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #Metalcore #PerpetualSelection #review #Reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #UK #UnitedKingdom #Vanta #Xenobiotic
https://www.newsbeep.com/uk/480541/

https://www.europesays.com/uk/831985/ Vanta – Perpetual Selection Review #2026 #30 #Archspire #AustralianMetal #Entertainment #FreedomOfFear #Fulci #Inferi #Insomnium #Mar26 #MelodicDeathMetal #Metalcore #music #PerpetualSelection #Review #Reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #UK #UnitedKingdom #Vanta #Xenobiotic

https://www.europesays.com/ie/389769/ Vanta – Perpetual Selection Review #2026 #30 #Archspire #AustralianMetal #Éire #Entertainment #FreedomOfFear #Fulci #IE #Inferi #Insomnium #Ireland #Mar26 #MelodicDeathMetal #metalcore #Music #PerpetualSelection #Review #Reviews #SelfReleased #Stortregn #TheBlackDahliaMurder #Vanta #Xenobiotic

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on the hellish setting of Dante’s Inferno, an ideal topic for the desert landscape that dominates their home continent. The melodeath of Freedom of Fear has an acerbic tone perfect for combatting the numerous venomous animals that lurk there. Newcomers Vanta are similarly raising their debut, Perpetual Selection, amidst the brutal, but also lovely, backdrop of the Land Down Under. In truth, Australia is a complex place, featuring the harsh Outback, lush jungles, beautiful beaches, and modern cityscapes. Vanta reflect this complexity, playing a brutal melodeath style that borrows from a myriad of influences outside the genre. Time will tell whether these guys have what it takes to thrive in this environment or fall to the perpetual forces conspiring against their survival.

Perpetual Selection borrows heavily from the crushing melodeath of The Black Dahlia Murder, yet where TBDM inaccurately draw comparisons to metalcore, Vanta happily blend metalcore into their sound. However, they play energetic melodeath first and foremost, featuring some impressive guitar leads with only the occasional sprinkle of a breakdown (“Stillwater,” “Sandstalker”) or down-tuned guitar tones (“Empty Shell”). Beneath the crushing riffs is an effective melodic layer produced by the guitar duo of Thien Huynh and Jesse Venus. There’s a sense of constant kinetic motion between the duo as they lay out hooky leads (“Empty Shell,” “Kuyang”) and speedy solos (“Stillwater”). The blistering kitwork from Ferdi Handojo also adds to the sense of non-stop energy. Like TBDM, Vanta have a knack for creative intros that heighten the excitement when the song proper roars into action. These intros range from gentle arpeggios (“Sacred Light,” “Stillwater”) to Fulci-style horror screams (“Kuyang”), and all culminate in a testosterone-fueled explosion of riffs, blast beats, and growls.

As I mentioned in the intro, Vanta infuse a wide variety of influences from various genres, yet somehow allow them to flow naturally together. Following an energetic set of songs, “Drown” slows things down with a melodic piece that has a whiff of sadboi melodeath stalwarts Insomnium, and yet it somehow works, perhaps due to how it eases into the gloom following an energetic intro. “Alchemy” similarly heads in a new direction, patiently building into a memorable chorus rather than immediately going for the jugular. Somehow it transports me to Stortregn’s Impermanence as Venus sings “Ash to ash / dust to dust.” Finally, “Purity” is a complete surprise, ripping a speedy tune that sounds uncannily like something off an Archspire record. Yet this all works, creating an exciting and varied album, in part thanks to the chameleon-like vocal attack from Venus. He seamlessly switches from his usual rasps to deep growls to speedy Oliver Rae Aleron delivery as if it all naturally fits together.

This variety in tunes does expose some weaknesses on Perpetual Selection, however. Not all influences that Vanta draw from work in their favor. The straight-up metalcore track, “Sandstalker,” sticks out like a sore thumb with its lack of melody or hooks. Sandwiched between two fantastic tunes early on, it threatens to derail the record right from the start. A breakdown halfway through the bloated “Stillwater” is another odd choice; it’s not a metalcore song, so the segment just feels out of place. Yet it’s the penultimate track, “Transmorcide,” that feels the most adrift. It lacks any hooks or leads and seems unsure what it’s trying to do. These issues don’t detract enough to keep Perpetual Selection from being enjoyable and worth checking out, though; they just show opportunities for growth.

Perpetual Selection proves to be a fun record from a new, young band with lots of promise. Vanta shows creative songwriting chops as well as a willingness to stretch out of their comfort zone. Most importantly, they fit nicely in that TBDM sound without being a mere clone. If they hone their talents and skills, they can find a niche in the melodeath realm that TBDM and Inferi have carved, hopefully for many years to come.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: March 13th, 2026

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on the hellish setting of Dante’s Inferno, an ideal topic for the desert landscape that dominates their home continent. The melodeath of Freedom of Fear has an acerbic tone perfect for combatting the numerous venomous animals that lurk there. Newcomers Vanta are similarly raising their debut, Perpetual Selection, amidst the brutal, but also lovely, backdrop of the Land Down Under. In truth, Australia is a complex place, featuring the harsh Outback, lush jungles, beautiful beaches, and modern cityscapes. Vanta reflect this complexity, playing a brutal melodeath style that borrows from a myriad of influences outside the genre. Time will tell whether these guys have what it takes to thrive in this environment or fall to the perpetual forces conspiring against their survival.

Perpetual Selection borrows heavily from the crushing melodeath of The Black Dahlia Murder, yet where TBDM inaccurately draw comparisons to metalcore, Vanta happily blend metalcore into their sound. However, they play energetic melodeath first and foremost, featuring some impressive guitar leads with only the occasional sprinkle of a breakdown (“Stillwater,” “Sandstalker”) or down-tuned guitar tones (“Empty Shell”). Beneath the crushing riffs is an effective melodic layer produced by the guitar duo of Thien Huynh and Jesse Venus. There’s a sense of constant kinetic motion between the duo as they lay out hooky leads (“Empty Shell,” “Kuyang”) and speedy solos (“Stillwater”). The blistering kitwork from Ferdi Handojo also adds to the sense of non-stop energy. Like TBDM, Vanta have a knack for creative intros that heighten the excitement when the song proper roars into action. These intros range from gentle arpeggios (“Sacred Light,” “Stillwater”) to Fulci-style horror screams (“Kuyang”), and all culminate in a testosterone-fueled explosion of riffs, blast beats, and growls.

As I mentioned in the intro, Vanta infuse a wide variety of influences from various genres, yet somehow allow them to flow naturally together. Following an energetic set of songs, “Drown” slows things down with a melodic piece that has a whiff of sadboi melodeath stalwarts Insomnium, and yet it somehow works, perhaps due to how it eases into the gloom following an energetic intro. “Alchemy” similarly heads in a new direction, patiently building into a memorable chorus rather than immediately going for the jugular. Somehow it transports me to Stortregn’s Impermanence as Venus sings “Ash to ash / dust to dust.” Finally, “Purity” is a complete surprise, ripping a speedy tune that sounds uncannily like something off an Archspire record. Yet this all works, creating an exciting and varied album, in part thanks to the chameleon-like vocal attack from Venus. He seamlessly switches from his usual rasps to deep growls to speedy Oliver Rae Aleron delivery as if it all naturally fits together.

This variety in tunes does expose some weaknesses on Perpetual Selection, however. Not all influences that Vanta draw from work in their favor. The straight-up metalcore track, “Sandstalker,” sticks out like a sore thumb with its lack of melody or hooks. Sandwiched between two fantastic tunes early on, it threatens to derail the record right from the start. A breakdown halfway through the bloated “Stillwater” is another odd choice; it’s not a metalcore song, so the segment just feels out of place. Yet it’s the penultimate track, “Transmorcide,” that feels the most adrift. It lacks any hooks or leads and seems unsure what it’s trying to do. These issues don’t detract enough to keep Perpetual Selection from being enjoyable and worth checking out, though; they just show opportunities for growth.

Perpetual Selection proves to be a fun record from a new, young band with lots of promise. Vanta shows creative songwriting chops as well as a willingness to stretch out of their comfort zone. Most importantly, they fit nicely in that TBDM sound without being a mere clone. If they hone their talents and skills, they can find a niche in the melodeath realm that TBDM and Inferi have carved, hopefully for many years to come.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: March 13th, 2026

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on the hellish setting of Dante’s Inferno, an ideal topic for the desert landscape that dominates their home continent. The melodeath of Freedom of Fear has an acerbic tone perfect for combatting the numerous venomous animals that lurk there. Newcomers Vanta are similarly raising their debut, Perpetual Selection, amidst the brutal, but also lovely, backdrop of the Land Down Under. In truth, Australia is a complex place, featuring the harsh Outback, lush jungles, beautiful beaches, and modern cityscapes. Vanta reflect this complexity, playing a brutal melodeath style that borrows from a myriad of influences outside the genre. Time will tell whether these guys have what it takes to thrive in this environment or fall to the perpetual forces conspiring against their survival.

Perpetual Selection borrows heavily from the crushing melodeath of The Black Dahlia Murder, yet where TBDM inaccurately draw comparisons to metalcore, Vanta happily blend metalcore into their sound. However, they play energetic melodeath first and foremost, featuring some impressive guitar leads with only the occasional sprinkle of a breakdown (“Stillwater,” “Sandstalker”) or down-tuned guitar tones (“Empty Shell”). Beneath the crushing riffs is an effective melodic layer produced by the guitar duo of Thien Huynh and Jesse Venus. There’s a sense of constant kinetic motion between the duo as they lay out hooky leads (“Empty Shell,” “Kuyang”) and speedy solos (“Stillwater”). The blistering kitwork from Ferdi Handojo also adds to the sense of non-stop energy. Like TBDM, Vanta have a knack for creative intros that heighten the excitement when the song proper roars into action. These intros range from gentle arpeggios (“Sacred Light,” “Stillwater”) to Fulci-style horror screams (“Kuyang”), and all culminate in a testosterone-fueled explosion of riffs, blast beats, and growls.

As I mentioned in the intro, Vanta infuse a wide variety of influences from various genres, yet somehow allow them to flow naturally together. Following an energetic set of songs, “Drown” slows things down with a melodic piece that has a whiff of sadboi melodeath stalwarts Insomnium, and yet it somehow works, perhaps due to how it eases into the gloom following an energetic intro. “Alchemy” similarly heads in a new direction, patiently building into a memorable chorus rather than immediately going for the jugular. Somehow it transports me to Stortregn’s Impermanence as Venus sings “Ash to ash / dust to dust.” Finally, “Purity” is a complete surprise, ripping a speedy tune that sounds uncannily like something off an Archspire record. Yet this all works, creating an exciting and varied album, in part thanks to the chameleon-like vocal attack from Venus. He seamlessly switches from his usual rasps to deep growls to speedy Oliver Rae Aleron delivery as if it all naturally fits together.

This variety in tunes does expose some weaknesses on Perpetual Selection, however. Not all influences that Vanta draw from work in their favor. The straight-up metalcore track, “Sandstalker,” sticks out like a sore thumb with its lack of melody or hooks. Sandwiched between two fantastic tunes early on, it threatens to derail the record right from the start. A breakdown halfway through the bloated “Stillwater” is another odd choice; it’s not a metalcore song, so the segment just feels out of place. Yet it’s the penultimate track, “Transmorcide,” that feels the most adrift. It lacks any hooks or leads and seems unsure what it’s trying to do. These issues don’t detract enough to keep Perpetual Selection from being enjoyable and worth checking out, though; they just show opportunities for growth.

Perpetual Selection proves to be a fun record from a new, young band with lots of promise. Vanta shows creative songwriting chops as well as a willingness to stretch out of their comfort zone. Most importantly, they fit nicely in that TBDM sound without being a mere clone. If they hone their talents and skills, they can find a niche in the melodeath realm that TBDM and Inferi have carved, hopefully for many years to come.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: March 13th, 2026

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on the hellish setting of Dante’s Inferno, an ideal topic for the desert landscape that dominates their home continent. The melodeath of Freedom of Fear has an acerbic tone perfect for combatting the numerous venomous animals that lurk there. Newcomers Vanta are similarly raising their debut, Perpetual Selection, amidst the brutal, but also lovely, backdrop of the Land Down Under. In truth, Australia is a complex place, featuring the harsh Outback, lush jungles, beautiful beaches, and modern cityscapes. Vanta reflect this complexity, playing a brutal melodeath style that borrows from a myriad of influences outside the genre. Time will tell whether these guys have what it takes to thrive in this environment or fall to the perpetual forces conspiring against their survival.

Perpetual Selection borrows heavily from the crushing melodeath of The Black Dahlia Murder, yet where TBDM inaccurately draw comparisons to metalcore, Vanta happily blend metalcore into their sound. However, they play energetic melodeath first and foremost, featuring some impressive guitar leads with only the occasional sprinkle of a breakdown (“Stillwater,” “Sandstalker”) or down-tuned guitar tones (“Empty Shell”). Beneath the crushing riffs is an effective melodic layer produced by the guitar duo of Thien Huynh and Jesse Venus. There’s a sense of constant kinetic motion between the duo as they lay out hooky leads (“Empty Shell,” “Kuyang”) and speedy solos (“Stillwater”). The blistering kitwork from Ferdi Handojo also adds to the sense of non-stop energy. Like TBDM, Vanta have a knack for creative intros that heighten the excitement when the song proper roars into action. These intros range from gentle arpeggios (“Sacred Light,” “Stillwater”) to Fulci-style horror screams (“Kuyang”), and all culminate in a testosterone-fueled explosion of riffs, blast beats, and growls.

As I mentioned in the intro, Vanta infuse a wide variety of influences from various genres, yet somehow allow them to flow naturally together. Following an energetic set of songs, “Drown” slows things down with a melodic piece that has a whiff of sadboi melodeath stalwarts Insomnium, and yet it somehow works, perhaps due to how it eases into the gloom following an energetic intro. “Alchemy” similarly heads in a new direction, patiently building into a memorable chorus rather than immediately going for the jugular. Somehow it transports me to Stortregn’s Impermanence as Venus sings “Ash to ash / dust to dust.” Finally, “Purity” is a complete surprise, ripping a speedy tune that sounds uncannily like something off an Archspire record. Yet this all works, creating an exciting and varied album, in part thanks to the chameleon-like vocal attack from Venus. He seamlessly switches from his usual rasps to deep growls to speedy Oliver Rae Aleron delivery as if it all naturally fits together.

This variety in tunes does expose some weaknesses on Perpetual Selection, however. Not all influences that Vanta draw from work in their favor. The straight-up metalcore track, “Sandstalker,” sticks out like a sore thumb with its lack of melody or hooks. Sandwiched between two fantastic tunes early on, it threatens to derail the record right from the start. A breakdown halfway through the bloated “Stillwater” is another odd choice; it’s not a metalcore song, so the segment just feels out of place. Yet it’s the penultimate track, “Transmorcide,” that feels the most adrift. It lacks any hooks or leads and seems unsure what it’s trying to do. These issues don’t detract enough to keep Perpetual Selection from being enjoyable and worth checking out, though; they just show opportunities for growth.

Perpetual Selection proves to be a fun record from a new, young band with lots of promise. Vanta shows creative songwriting chops as well as a willingness to stretch out of their comfort zone. Most importantly, they fit nicely in that TBDM sound without being a mere clone. If they hone their talents and skills, they can find a niche in the melodeath realm that TBDM and Inferi have carved, hopefully for many years to come.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: March 13th, 2026

The harsh environs of Australia are the perfect breeding grounds for brutal music. Xenobiotic based their latest on the hellish setting of Dante’s Inferno, an ideal topic for the desert landscape that dominates their home continent. The melodeath of Freedom of Fear has an acerbic tone perfect for combatting the numerous venomous animals that lurk there. Newcomers Vanta are similarly raising their debut, Perpetual Selection, amidst the brutal, but also lovely, backdrop of the Land Down Under. In truth, Australia is a complex place, featuring the harsh Outback, lush jungles, beautiful beaches, and modern cityscapes. Vanta reflect this complexity, playing a brutal melodeath style that borrows from a myriad of influences outside the genre. Time will tell whether these guys have what it takes to thrive in this environment or fall to the perpetual forces conspiring against their survival.

Perpetual Selection borrows heavily from the crushing melodeath of The Black Dahlia Murder, yet where TBDM inaccurately draw comparisons to metalcore, Vanta happily blend metalcore into their sound. However, they play energetic melodeath first and foremost, featuring some impressive guitar leads with only the occasional sprinkle of a breakdown (“Stillwater,” “Sandstalker”) or down-tuned guitar tones (“Empty Shell”). Beneath the crushing riffs is an effective melodic layer produced by the guitar duo of Thien Huynh and Jesse Venus. There’s a sense of constant kinetic motion between the duo as they lay out hooky leads (“Empty Shell,” “Kuyang”) and speedy solos (“Stillwater”). The blistering kitwork from Ferdi Handojo also adds to the sense of non-stop energy. Like TBDM, Vanta have a knack for creative intros that heighten the excitement when the song proper roars into action. These intros range from gentle arpeggios (“Sacred Light,” “Stillwater”) to Fulci-style horror screams (“Kuyang”), and all culminate in a testosterone-fueled explosion of riffs, blast beats, and growls.

As I mentioned in the intro, Vanta infuse a wide variety of influences from various genres, yet somehow allow them to flow naturally together. Following an energetic set of songs, “Drown” slows things down with a melodic piece that has a whiff of sadboi melodeath stalwarts Insomnium, and yet it somehow works, perhaps due to how it eases into the gloom following an energetic intro. “Alchemy” similarly heads in a new direction, patiently building into a memorable chorus rather than immediately going for the jugular. Somehow it transports me to Stortregn’s Impermanence as Venus sings “Ash to ash / dust to dust.” Finally, “Purity” is a complete surprise, ripping a speedy tune that sounds uncannily like something off an Archspire record. Yet this all works, creating an exciting and varied album, in part thanks to the chameleon-like vocal attack from Venus. He seamlessly switches from his usual rasps to deep growls to speedy Oliver Rae Aleron delivery as if it all naturally fits together.

This variety in tunes does expose some weaknesses on Perpetual Selection, however. Not all influences that Vanta draw from work in their favor. The straight-up metalcore track, “Sandstalker,” sticks out like a sore thumb with its lack of melody or hooks. Sandwiched between two fantastic tunes early on, it threatens to derail the record right from the start. A breakdown halfway through the bloated “Stillwater” is another odd choice; it’s not a metalcore song, so the segment just feels out of place. Yet it’s the penultimate track, “Transmorcide,” that feels the most adrift. It lacks any hooks or leads and seems unsure what it’s trying to do. These issues don’t detract enough to keep Perpetual Selection from being enjoyable and worth checking out, though; they just show opportunities for growth.

Perpetual Selection proves to be a fun record from a new, young band with lots of promise. Vanta shows creative songwriting chops as well as a willingness to stretch out of their comfort zone. Most importantly, they fit nicely in that TBDM sound without being a mere clone. If they hone their talents and skills, they can find a niche in the melodeath realm that TBDM and Inferi have carved, hopefully for many years to come.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook | Official Site
Releases Worldwide: March 13th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

You haven’t lived until you’ve heard an Australian recite Dante. Once a niche ritual available only to the geographically privileged, everyone’s somethingth-favorite Australian prog-death band Xenobiotic are using their aptly titled third LP to democratize access to this sonorous phenomenon, and some other sonorous phenomena to boot, familiar to those acquainted with much-lauded sophomore effort Mordrake. The band’s adventurous efforts are well-suited to epic literature, and, as for the subject matter, recall that this is a death metal record. But also recall, if you will, your favorite moment from Mordrake. We’ll need it later.

As expected, Dante is all about drama. Vocalist TJ Sinclair kicks off the record with narration from Inferno, and largely directs the show from there, whether by burly roars or acrid sneers. Guitarist Nish Raghavan’s repertoire of drawn-out arpeggios, palm-muted chugs, and hammer-on grooves tends to take a backseat to whatever Sinclair is doing, but comes out in force when allowed to. “The Slave State” is a mid-album highlight because of his athletic interpolation of Joe Haley and Duplantier, sprinting through hammer-on grooves, then stumbling into syncopation. The following “Dante II: Pariah” gives the whole band a chance to charge together through quick Gorod-ey odd-time riffs and gives new(ish) drummer Matt Unkovich a nice opportunity to step back from the blasts and add a bit of flair, which he pulls off well under a solo from Raghavan and a memorable chorus from Sinclair. Whenever given a chance to hit a big new vocal moment, the band take it, but for all their effort, Dante doesn’t quite land.

Dante by Xenobiotic

Now, for me, the standout moment from Mordrake would be the scrambling tremolo lead from “Light that Burns the Sky.” That whiny, winding melody that ends on such an alarming and unexpected note was a stroke of brilliance that the band integrated perfectly into a dense song with a lot of other things going on. Your favorite moment probably has similar properties; cool alone, brilliant with backup. Like Kardashev, Xenobiotic rely heavily on atmosphere and melodrama, at times propelling their records through orchestration rather than riffcraft. Mordrake suffered a bit from this, but the mass of novel ideas, executed with ample kinetic energy, shot through the fluff and made quite an impact. Danteis lightweight and slow-moving, trying to make up momentum through combinations of interchangeable chuggy riffs, chord-outline tremolos, and heavily produced vocals.

Maximalist production and a compressed master exacerbate these writing faults. High-register guitar leads are muffled by beefed-up kick drums and guitar chugs. Sinclair’s roars, screams and narrations, subject to near-continuous studio embellishments, fight for space with the guitars when double-or triple-tracked. Not much of the contested territory really seems worth the battle. When the group quiet down, as in the subdued guitar solo in the middle of “Dante II: Pariah,” they give themselves enough space for performances to really matter, but they don’t seem to have much panache to lend. Unkovich is bent over blasting at every opportunity and seems religiously opposed to fills, and even when Raghavan’s written something interesting for himself, it’s hard to tell what that is.

I jealously snatched Dante from the promo pit in the hope that Xenobiotic would treat me to another Mordrake. While Dante follows closely in that style, it’s a far less substantial record, too focused on executing its concept to introduce much musical interest and too overproduced to let those scraps of interesting music make an impact. Raghavan’s strong sense of melody keeps a few of the slow-moving leads stuck in my head for a while after the record, and Sinclair’s narration makes for a few emotionally resonant moments, especially in the record’s climax. But after so many listens, I’m left wondering how all of this sound adds up to so little.

Rating: 2.5/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Released
Websites: facebook.com/xenobioticau | xenobiotic.bandcamp.com
Releases Worldwide: March 3rd, 2026

In case you’re unfamiliar, The Epic of Gilgamesh is an ancient Mesopotamian poetic narrative, whose first complete form is dated to approximately 1800 BCE. It follows a story of King Gilgamesh and his dealings with gods and other mythic monsters, culminating in a journey for the secret of immortality.1 What better way could there be to consume this rich, literary epic than have it interpreted by the collection of artists behind From the Waters of Death? Obscure black/doom duo Swords of Dis; death metal veteran and experimenter Serpent Ascending; Neptunian Maximalism’s darker, heavier incarnation Ôros Kaù; and ambient-black dreamer Midnight Odyssey. All are infamous—if you know who they are—for their strange, unconventional styles and love for long-form expression that borders on the self-indulgent, which may make them ideally suited to a Gilgamesh retelling. You may already be experiencing a sinking feeling of dread at those name-drops. But together these artists achieve something that exceeded my expectations even as it met them squarely.

While appearing to be a split, Waters is more of a collaboration as each individual contributes vocal or instrumental talents across multiple songs, including on those they wrote and take the lead in themselves. Spearheading the whole thing are Richard and Alice Corvinus of Swords of Dis, who have a hand in all lyrics and appear on every track. These lyrics, inspired by the words of the epic itself, consist of narration interspersed with dialogue between the various characters, and the five musicians rotate and share roles depending on who is involved in the corresponding part of the story. 2 This improves the album’s internal coherence—which might otherwise be hindered in a split format—whilst also allowing each movement to take on the personality of its lead artist. As a form of adaptation, the five tracks of reverb-filled, noisy, strange, melodramatically or demoniacally vocally-led, black-adjacent fringe metal lean into the grand, frightening side to the tale whose gravity us modern-age folk probably can’t appreciate properly. And it’s that excessive, almost absurd commitment to being different, which—and I can’t believe I’m saying this—actually works.

From The Waters Of Death by SWORDS OF DIS

Drama is at the heart of oral poetic tradition, and it’s Waters’ drama that similarly grounds its best aspects. Utmost credit goes to Alice Corvinus and her fierce (“From Egalmah They Rode…”3, operatic (“Araru Births the Lord of the Wilderness,” “From Egalmah…,” “Blood Stains The Altar…”4), sometimes eerie (“Into the Wailing Darkness”5) vocal performance. Her presence dominates as she provides some narration in addition to voicing every female character (and there are a lot of goddesses involved). Dark, minor tremolo refrains and Middle-Eastern-inspired melodies support her delivery, and the theatrical, flowing style Swords of Dis employ lends itself to this expression perfectly. In a different vein, the inhumanly gurgling snarls of Guillaume Cazalet (Ôros Kaù) make for a barbed contrast to otherwise vague, even beautiful, passages (“Blood…”), and can be genuinely frightening (“Into The Wailing Darkness”). All vocals—clean or harsh—are odd to a degree, sometimes even off-putting (“Araru…”). Yet most breaches of the cringe line are brief, and ameliorated by interesting instrumentation (“Blood…,” “From the Setting…”6). Those totally averse to what we anaemically refer to as ‘avant-garde’ in extreme metal can beg to differ, but the back and forth between dissonance and harmony (“Araru…,” “Blood…”), and between uncomfortable slowness and sudden speed (“From the Setting…”), is not only well-performed, it makes sense for the record’s narrative concept. A journey represented through a monotonous pattern (“From Egalmah…,” “From the Setting…”), the fury of a deity by means of an operatic surge (“From Egalmah…”).

Waters embodies the manner of epic poetry so well, however, that its digestibility is harmed as well as helped. Whether appropriate or not, its near-90-minute runtime makes engaging with its entirety a daunting prospect, and this is a record that fares best when you do give it the time and space to immerse you.7 The very aptness of the compositional style—long repetitive sections on the one hand, and frequent switches between tempo, melody, and vocalist on the other—which mimics recitation amongst orators, can prove taxing. It creates a dynamic of brilliant moments and stand-out performances, scattered unevenly inside overextended filling. It’s perhaps not a coincidence that the album’s midsection—the two tracks led by masterminds Swords of Dis—is by far the best and most even in quality, whereas its final act—Midnight Odyssey’s—is the least engaging and unable to support its length.8

Though Waters cannot escape the idiosyncrasies of the artists behind it—and so inherently restricts its audience—as an expression of this epic poem, these approaches to black metal are surprisingly apt. If you have the time to go on this adventure with Serpent Ascending, Ôros Kaù, Swords of Dis, and Midnight Odyssey, there’s plenty to enjoy. But if nothing else, let it be an excuse to learn about the original myth that inspires such weird, sometimes wonderful music.

Rating: Good(!)
DR: 6 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger
Websites: Album BC | Serpent Ascending BC | Serpent Ascending FB | Ôros Kaù BC | Ôros Kaù FB | Swords of Dis BC | Swords of Dis FB | Midnight Odyssey BC | Midnight Odyssey FB
Releases Worldwide: February 13th, 2026

Bonus #MusicWomenWednesday because this record is incredible and y'all need to hear this today. Melbourne's LILY OF THE VALLEY and their new LP 'Adorn the Earth': https://lilyofthevalleymusic.bandcamp.com/album/adorn-the-earth

Heavy, Sabbathy (but wild and dynamic) doom metal - give it a bit, singer Yasmin de Laine does some fucking INCREDIBLE clean singing too, not just screams. All KINDS of stuff on this. Awesome lyrics. Unreal record. Tagging some doom folks.

#doom #metal #DoomMetal #2026Albums #2026Records #Melbourne #Australia #AustralianBands #AustralianMetal @HailsandAles @anji @wyckedlady @gavin57 @demon6 @rtw @swampgas @umrk

Malignant Aura – Where All of Worth Comes to Wither Review

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #AustralianMetal #DeathMetal #DoomMetal #Entertainment #HoodedMenace #Incantation #Jan26 #MalignantAura #MementoMori #MournfulCongregation #review #reviews #WhereAllofWorthComestoWither
https://www.newsbeep.com/us/433278/

Malignant Aura – Where All of Worth Comes to Wither Review

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had…
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https://www.newsbeep.com/us/433278/

Malignant Aura – Where All of Worth Comes to Wither Review

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had…
#NewsBeep #News #Music #2026 #3.5 #AustralianMetal #DeathMetal #DoomMetal #Entertainment #HoodedMenace #Incantation #Jan26 #MalignantAura #MementoMori #MournfulCongregation #review #Reviews #UK #UnitedKingdom #WhereAllofWorthComestoWither
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The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither, arrives to push Malignant Aura out of the nether realm and into a world all their own.

Where All of Worth picks up where Abysmal Misfortune left off. Opening with a series of gongs, the title track’s Mournful Congregation of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace and OSDM legends Incantation. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive—mostly exceeding ten minutes—weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.

Where All of Worth Comes to Wither by Malignant Aura

I usually groan when I see double-digit track times, but Malignant Aura navigates Where All of Worth’s unabridged structure with ease by prioritizing flow over sheer density. Treating length as a function of tension and release rather than piling on riffs, they rely on intentional pacing, dynamic restraint, and Robertson’s percussion-led transitions to maintain intrigue and momentum. Whether it’s through violent double bass ruptures (“Languishing in the Perpetual Mire”), sepulchral marches (“The Pathetic Festival”), or cascading, symmetrical fills (“An Abhorrent Path to Providence”), Robertson’s drumming ensures that Where All of Worth’s transitions never feel foreign or accidental. This makes the eventual catastrophic payoffs feel earned rather than obligatory, a key reason each song’s arc feels purposeful. Motifs recur, but they return with altered tempos, denser drumming, or heightened aggression. The constant push and pull between crawling doom passages with repeated fake-outs and sudden bursts of deathly speed prevents stagnation in “Languishing in the Perpetual Mire.” Additionally, the formidable “Beneath a Crown of Anguish” never feels bloated thanks to later sections reframing what came before. “Beneath a Crown of Anguish’s” finale particularly nails this approach, briefly pausing for a moment before slamming back in at halftime for a decisive, memorable ending. Overall, Malignant Aura’s songwriting either deepens atmosphere, increases tension, or reshapes ideas, making their sprawling compositions feel immersive rather than exhausting.

Malignant Aura has undoubtedly sharpened their funerary tools on Where All of Worth, yet the songwriting doesn’t always stick the landing. “An Abhorrent Path to Providence,” for instance, lacks the peaks and valleys of other songs, succumbing to an atmospheric plateau that reveals what happens when runtime exceeds inspiration. The track’s midsection outstays its welcome and, despite the quality of Robertson’s kit work, the track feels unnecessarily distended. Moreover, a solo that fails to echo the song’s morose essence hampers the finale of “Languishing in the Perpetual Mire.” Though a far more evocative lead follows—nearly masking the previous stumble—the song awkwardly dissolves into a fade-out. It’s a clumsy end for a song that deserved a far more monolithic conclusion. However, while these compositional fractures exist, the songwriting remains sharp enough to sustain the weight of Where All of Worth’s expansive crusade.

As my colleagues in the staff lounge can attest, Where All of Worth’s cold embrace initially enthralled me—frankly, I wouldn’t shut up about it. I was certain it would drag the Score Counter into the lifeless muck with ease. Yet, reviewing has a way of introducing irony. Upon further listening, the record leveled out more than I anticipated, causing it to just miss greatness. Nonetheless, Malignant Aura has crafted an undeniable winner here, offering a wealth of grim, doom-laden, and morbid textures that will more than satisfy doom and death fans alike.

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Memento Mori | Grindhead/Primitive Moth
Websites: malignant-aura.bandcamp.com | facebook.com/MalignantAura
Releases Worldwide: January 26th, 2026

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither, arrives to push Malignant Aura out of the nether realm and into a world all their own.

Where All of Worth picks up where Abysmal Misfortune left off. Opening with a series of gongs, the title track’s Mournful Congregation of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace and OSDM legends Incantation. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive—mostly exceeding ten minutes—weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.

Where All of Worth Comes to Wither by Malignant Aura

I usually groan when I see double-digit track times, but Malignant Aura navigates Where All of Worth’s unabridged structure with ease by prioritizing flow over sheer density. Treating length as a function of tension and release rather than piling on riffs, they rely on intentional pacing, dynamic restraint, and Robertson’s percussion-led transitions to maintain intrigue and momentum. Whether it’s through violent double bass ruptures (“Languishing in the Perpetual Mire”), sepulchral marches (“The Pathetic Festival”), or cascading, symmetrical fills (“An Abhorrent Path to Providence”), Robertson’s drumming ensures that Where All of Worth’s transitions never feel foreign or accidental. This makes the eventual catastrophic payoffs feel earned rather than obligatory, a key reason each song’s arc feels purposeful. Motifs recur, but they return with altered tempos, denser drumming, or heightened aggression. The constant push and pull between crawling doom passages with repeated fake-outs and sudden bursts of deathly speed prevents stagnation in “Languishing in the Perpetual Mire.” Additionally, the formidable “Beneath a Crown of Anguish” never feels bloated thanks to later sections reframing what came before. “Beneath a Crown of Anguish’s” finale particularly nails this approach, briefly pausing for a moment before slamming back in at halftime for a decisive, memorable ending. Overall, Malignant Aura’s songwriting either deepens atmosphere, increases tension, or reshapes ideas, making their sprawling compositions feel immersive rather than exhausting.

Malignant Aura has undoubtedly sharpened their funerary tools on Where All of Worth, yet the songwriting doesn’t always stick the landing. “An Abhorrent Path to Providence,” for instance, lacks the peaks and valleys of other songs, succumbing to an atmospheric plateau that reveals what happens when runtime exceeds inspiration. The track’s midsection outstays its welcome and, despite the quality of Robertson’s kit work, the track feels unnecessarily distended. Moreover, a solo that fails to echo the song’s morose essence hampers the finale of “Languishing in the Perpetual Mire.” Though a far more evocative lead follows—nearly masking the previous stumble—the song awkwardly dissolves into a fade-out. It’s a clumsy end for a song that deserved a far more monolithic conclusion. However, while these compositional fractures exist, the songwriting remains sharp enough to sustain the weight of Where All of Worth’s expansive crusade.

As my colleagues in the staff lounge can attest, Where All of Worth’s cold embrace initially enthralled me—frankly, I wouldn’t shut up about it. I was certain it would drag the Score Counter into the lifeless muck with ease. Yet, reviewing has a way of introducing irony. Upon further listening, the record leveled out more than I anticipated, causing it to just miss greatness. Nonetheless, Malignant Aura has crafted an undeniable winner here, offering a wealth of grim, doom-laden, and morbid textures that will more than satisfy doom and death fans alike.

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Memento Mori | Grindhead/Primitive Moth
Websites: malignant-aura.bandcamp.com | facebook.com/MalignantAura
Releases Worldwide: January 26th, 2026

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither, arrives to push Malignant Aura out of the nether realm and into a world all their own.

Where All of Worth picks up where Abysmal Misfortune left off. Opening with a series of gongs, the title track’s Mournful Congregation of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace and OSDM legends Incantation. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive—mostly exceeding ten minutes—weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.

Where All of Worth Comes to Wither by Malignant Aura

I usually groan when I see double-digit track times, but Malignant Aura navigates Where All of Worth’s unabridged structure with ease by prioritizing flow over sheer density. Treating length as a function of tension and release rather than piling on riffs, they rely on intentional pacing, dynamic restraint, and Robertson’s percussion-led transitions to maintain intrigue and momentum. Whether it’s through violent double bass ruptures (“Languishing in the Perpetual Mire”), sepulchral marches (“The Pathetic Festival”), or cascading, symmetrical fills (“An Abhorrent Path to Providence”), Robertson’s drumming ensures that Where All of Worth’s transitions never feel foreign or accidental. This makes the eventual catastrophic payoffs feel earned rather than obligatory, a key reason each song’s arc feels purposeful. Motifs recur, but they return with altered tempos, denser drumming, or heightened aggression. The constant push and pull between crawling doom passages with repeated fake-outs and sudden bursts of deathly speed prevents stagnation in “Languishing in the Perpetual Mire.” Additionally, the formidable “Beneath a Crown of Anguish” never feels bloated thanks to later sections reframing what came before. “Beneath a Crown of Anguish’s” finale particularly nails this approach, briefly pausing for a moment before slamming back in at halftime for a decisive, memorable ending. Overall, Malignant Aura’s songwriting either deepens atmosphere, increases tension, or reshapes ideas, making their sprawling compositions feel immersive rather than exhausting.

Malignant Aura has undoubtedly sharpened their funerary tools on Where All of Worth, yet the songwriting doesn’t always stick the landing. “An Abhorrent Path to Providence,” for instance, lacks the peaks and valleys of other songs, succumbing to an atmospheric plateau that reveals what happens when runtime exceeds inspiration. The track’s midsection outstays its welcome and, despite the quality of Robertson’s kit work, the track feels unnecessarily distended. Moreover, a solo that fails to echo the song’s morose essence hampers the finale of “Languishing in the Perpetual Mire.” Though a far more evocative lead follows—nearly masking the previous stumble—the song awkwardly dissolves into a fade-out. It’s a clumsy end for a song that deserved a far more monolithic conclusion. However, while these compositional fractures exist, the songwriting remains sharp enough to sustain the weight of Where All of Worth’s expansive crusade.

As my colleagues in the staff lounge can attest, Where All of Worth’s cold embrace initially enthralled me—frankly, I wouldn’t shut up about it. I was certain it would drag the Score Counter into the lifeless muck with ease. Yet, reviewing has a way of introducing irony. Upon further listening, the record leveled out more than I anticipated, causing it to just miss greatness. Nonetheless, Malignant Aura has crafted an undeniable winner here, offering a wealth of grim, doom-laden, and morbid textures that will more than satisfy doom and death fans alike.

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Memento Mori | Grindhead/Primitive Moth
Websites: malignant-aura.bandcamp.com | facebook.com/MalignantAura
Releases Worldwide: January 26th, 2026

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither, arrives to push Malignant Aura out of the nether realm and into a world all their own.

Where All of Worth picks up where Abysmal Misfortune left off. Opening with a series of gongs, the title track’s Mournful Congregation of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace and OSDM legends Incantation. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive—mostly exceeding ten minutes—weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.

Where All of Worth Comes to Wither by Malignant Aura

I usually groan when I see double-digit track times, but Malignant Aura navigates Where All of Worth’s unabridged structure with ease by prioritizing flow over sheer density. Treating length as a function of tension and release rather than piling on riffs, they rely on intentional pacing, dynamic restraint, and Robertson’s percussion-led transitions to maintain intrigue and momentum. Whether it’s through violent double bass ruptures (“Languishing in the Perpetual Mire”), sepulchral marches (“The Pathetic Festival”), or cascading, symmetrical fills (“An Abhorrent Path to Providence”), Robertson’s drumming ensures that Where All of Worth’s transitions never feel foreign or accidental. This makes the eventual catastrophic payoffs feel earned rather than obligatory, a key reason each song’s arc feels purposeful. Motifs recur, but they return with altered tempos, denser drumming, or heightened aggression. The constant push and pull between crawling doom passages with repeated fake-outs and sudden bursts of deathly speed prevents stagnation in “Languishing in the Perpetual Mire.” Additionally, the formidable “Beneath a Crown of Anguish” never feels bloated thanks to later sections reframing what came before. “Beneath a Crown of Anguish’s” finale particularly nails this approach, briefly pausing for a moment before slamming back in at halftime for a decisive, memorable ending. Overall, Malignant Aura’s songwriting either deepens atmosphere, increases tension, or reshapes ideas, making their sprawling compositions feel immersive rather than exhausting.

Malignant Aura has undoubtedly sharpened their funerary tools on Where All of Worth, yet the songwriting doesn’t always stick the landing. “An Abhorrent Path to Providence,” for instance, lacks the peaks and valleys of other songs, succumbing to an atmospheric plateau that reveals what happens when runtime exceeds inspiration. The track’s midsection outstays its welcome and, despite the quality of Robertson’s kit work, the track feels unnecessarily distended. Moreover, a solo that fails to echo the song’s morose essence hampers the finale of “Languishing in the Perpetual Mire.” Though a far more evocative lead follows—nearly masking the previous stumble—the song awkwardly dissolves into a fade-out. It’s a clumsy end for a song that deserved a far more monolithic conclusion. However, while these compositional fractures exist, the songwriting remains sharp enough to sustain the weight of Where All of Worth’s expansive crusade.

As my colleagues in the staff lounge can attest, Where All of Worth’s cold embrace initially enthralled me—frankly, I wouldn’t shut up about it. I was certain it would drag the Score Counter into the lifeless muck with ease. Yet, reviewing has a way of introducing irony. Upon further listening, the record leveled out more than I anticipated, causing it to just miss greatness. Nonetheless, Malignant Aura has crafted an undeniable winner here, offering a wealth of grim, doom-laden, and morbid textures that will more than satisfy doom and death fans alike.

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Memento Mori | Grindhead/Primitive Moth
Websites: malignant-aura.bandcamp.com | facebook.com/MalignantAura
Releases Worldwide: January 26th, 2026

The marriage of death and doom is a well-trodden path, but Malignant Aura’s 2022 debut proved they had quickly mastered the formula. Abysmal Misfortune is Draped Upon Me was a crushing blend of old-school death metal (OSDM) misery and funeral desolation, establishing the Australian quartet as another worthy addition to an already vibrant scene. Born from the collaborative interests of guitarist Chris Clark and vocalist Tim Smith, the project has quickly metastasized from its demo roots into a fully realized unit. Now a part of the Memento Mori roster, their sophomore effort, Where All of Worth Comes to Wither, arrives to push Malignant Aura out of the nether realm and into a world all their own.

Where All of Worth picks up where Abysmal Misfortune left off. Opening with a series of gongs, the title track’s Mournful Congregation of Peaceville Three-inspired languid melodies and somber refrains surrender to a plodding, tectonic drum beat. Though Malignant Aura could have merged this intro into the subsequent track, it successfully anchors the record’s slow-burn atmosphere. Elsewhere, “The Pathetic Festival” conjures the macabre spirit of Hooded Menace and OSDM legends Incantation. It stands out as the tighter and faster track of the bunch, while the remaining three tracks are massive—mostly exceeding ten minutes—weaving funeral doom’s glacial phrasing with incendiary OSDM grit. Malignant Aura’s strength lies in the interplay between Robertson’s articulate drumming and Smith’s visceral vocal performance. Smith’s cesspool of gutturals, gurgles (“Beneath a Crown of Anguish,” “The Pathetic Festival”), chokes (“The Pathetic Festival”), and “bleghs” (“Languishing in the Perpetual Mire”) are phenomenal, with Clark’s wailing guitars, titanic riffs, and processional melodies guiding his vocals through shifting and swirling movements.

Where All of Worth Comes to Wither by Malignant Aura

I usually groan when I see double-digit track times, but Malignant Aura navigates Where All of Worth’s unabridged structure with ease by prioritizing flow over sheer density. Treating length as a function of tension and release rather than piling on riffs, they rely on intentional pacing, dynamic restraint, and Robertson’s percussion-led transitions to maintain intrigue and momentum. Whether it’s through violent double bass ruptures (“Languishing in the Perpetual Mire”), sepulchral marches (“The Pathetic Festival”), or cascading, symmetrical fills (“An Abhorrent Path to Providence”), Robertson’s drumming ensures that Where All of Worth’s transitions never feel foreign or accidental. This makes the eventual catastrophic payoffs feel earned rather than obligatory, a key reason each song’s arc feels purposeful. Motifs recur, but they return with altered tempos, denser drumming, or heightened aggression. The constant push and pull between crawling doom passages with repeated fake-outs and sudden bursts of deathly speed prevents stagnation in “Languishing in the Perpetual Mire.” Additionally, the formidable “Beneath a Crown of Anguish” never feels bloated thanks to later sections reframing what came before. “Beneath a Crown of Anguish’s” finale particularly nails this approach, briefly pausing for a moment before slamming back in at halftime for a decisive, memorable ending. Overall, Malignant Aura’s songwriting either deepens atmosphere, increases tension, or reshapes ideas, making their sprawling compositions feel immersive rather than exhausting.

Malignant Aura has undoubtedly sharpened their funerary tools on Where All of Worth, yet the songwriting doesn’t always stick the landing. “An Abhorrent Path to Providence,” for instance, lacks the peaks and valleys of other songs, succumbing to an atmospheric plateau that reveals what happens when runtime exceeds inspiration. The track’s midsection outstays its welcome and, despite the quality of Robertson’s kit work, the track feels unnecessarily distended. Moreover, a solo that fails to echo the song’s morose essence hampers the finale of “Languishing in the Perpetual Mire.” Though a far more evocative lead follows—nearly masking the previous stumble—the song awkwardly dissolves into a fade-out. It’s a clumsy end for a song that deserved a far more monolithic conclusion. However, while these compositional fractures exist, the songwriting remains sharp enough to sustain the weight of Where All of Worth’s expansive crusade.

As my colleagues in the staff lounge can attest, Where All of Worth’s cold embrace initially enthralled me—frankly, I wouldn’t shut up about it. I was certain it would drag the Score Counter into the lifeless muck with ease. Yet, reviewing has a way of introducing irony. Upon further listening, the record leveled out more than I anticipated, causing it to just miss greatness. Nonetheless, Malignant Aura has crafted an undeniable winner here, offering a wealth of grim, doom-laden, and morbid textures that will more than satisfy doom and death fans alike.

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Memento Mori | Grindhead/Primitive Moth
Websites: malignant-aura.bandcamp.com | facebook.com/MalignantAura
Releases Worldwide: January 26th, 2026

https://www.europesays.com/uk/700242/ The Eternal – Celestial Review #2026 #3.5 #AustralianMetal #BlackSunAeon #celestial #DawnOfSolace #Deathwhite #Entertainment #Jan26 #Katatonia #music #ParadiseLost #ReigningPhoenixMusic #Review #Reviews #Semtenced #Skinwalker #TheEternal #UK #UnitedKingdom #WaitingForTheEndlessDawn

Australian Gothic doom act The Eternal came into my life with their 2018 opus Waiting for the Endless Dawn and caused me much consternation. I loved their depressive Paradise Lost / Sentenced / Katatonia style, but struggled with the sheer length of the compositions, which ranged from 10 minutes upward to 20. I underscored the album despite some amazing material due to its sheer size, and I regret that still. 2024s Skinwalker saw them tone down the running times somewhat, and it was another glum victory with huge moments of sadboi glory. Now, The Eternal drop a mini-album/EP named Celestial, and lo and behold, it’s economical in size and scope.1 You get 4 new tracks, a remix from their sophomore release, and one short intro.2 It’s not much on paper, but it hits way above its weight and again proves these Aussie doomers have something special going on that every doom fan needs to be aware of.

After a throwaway intro, “Celestial Veil” comes in to mop the floor with your emotions with a vulgar display of poignant Gothic doom. It has strong similarities to the classic Black Sun Aeon and Dawn of Solace playbook of Tuomas Saukkonen, with weepy guitar lines and plaintive clean singing designed to fill your heart with grief. The chorus is so perfect and gripping that you can’t unhear it after one exposure. And the most amazing part? It’s relatively short at just over 6 minutes! “It All Ends” is even shorter and carries the torch of despondency with another downcast paean to misery that’s emotive, morbid, and catchy, with a killer chorus designed to stick like a prison shank.

The hits keep coming on “Bleeding into Light,” which milks the band’s streamlined template for all its worth. It’s simple but uber-memorable, part Goth rock and part doom. It works a charm, and it’s so easy to listen to as it hollows out your soul. The big surprise comes with “Casting Down Shadows,” where the band takes their core approach and layers it with epical Middle Eastern symphonics to arrive at something grandiose like a doom version of Led Zeppelin’s immortal “Kashmir.” It creates a strange hypnotic effect, and you lose yourself in the haze of time and space. It’s a really interesting song and shows a side of The Eternal that I want to hear more of. Things round out with “Everlasting MMXXVI,” a remix of a track off their 2004 Sleep of Reason album. It works here, and though the overall style is more stripped-down and Goth rock-based. These shorter style cuts remind me of the early stuff from Deathwhite, and that’s a good thing.

The Eternal know how to nail their chosen style to the wall, giving the Gothic/melodoom fan everything they could want. Mark Kelson’s vocals are perfect for this kind of dour doom, and he sells negative emotions by the truckload without having to strain or contort his voice to get the point across. His sullen crooning is beguiling, and when he steps the urgency up, things really pop. Kelson and Richie Poate are a potent guitar tandem, often keeping things minimalist while crafting classic Goth/melodoom harmonies that remind of what Greg Macintosh (Paradise Lost) does so well. Their playing is the mortuary drape that covers everything in cold hopelessness. This isn’t the most flashy of bands musically, but they don’t need to be to ensnare and bewitch you.

In my review for Skinwalker, I wrote, “If they ever learn to resist their fatter angels, they’ll drop a magnum opus that will shake the heavens.” Here we find The Eternal associating with angels on Ozempic, and the results are impressive indeed. I’m anxious to see if Celestial is indicative of where the band is heading. I’m fully on board if that’s the case, and if not, I can deal with the zaftig angels too. I’m easy when the doom is this sexy.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: January 16th, 2026

Australian Gothic doom act The Eternal came into my life with their 2018 opus Waiting for the Endless Dawn and caused me much consternation. I loved their depressive Paradise Lost / Sentenced / Katatonia style, but struggled with the sheer length of the compositions, which ranged from 10 minutes upward to 20. I underscored the album despite some amazing material due to its sheer size, and I regret that still. 2024s Skinwalker saw them tone down the running times somewhat, and it was another glum victory with huge moments of sadboi glory. Now, The Eternal drop a mini-album/EP named Celestial, and lo and behold, it’s economical in size and scope.1 You get 4 new tracks, a remix from their sophomore release, and one short intro.2 It’s not much on paper, but it hits way above its weight and again proves these Aussie doomers have something special going on that every doom fan needs to be aware of.

After a throwaway intro, “Celestial Veil” comes in to mop the floor with your emotions with a vulgar display of poignant Gothic doom. It has strong similarities to the classic Black Sun Aeon and Dawn of Solace playbook of Tuomas Saukkonen, with weepy guitar lines and plaintive clean singing designed to fill your heart with grief. The chorus is so perfect and gripping that you can’t unhear it after one exposure. And the most amazing part? It’s relatively short at just over 6 minutes! “It All Ends” is even shorter and carries the torch of despondency with another downcast paean to misery that’s emotive, morbid, and catchy, with a killer chorus designed to stick like a prison shank.

The hits keep coming on “Bleeding into Light,” which milks the band’s streamlined template for all its worth. It’s simple but uber-memorable, part Goth rock and part doom. It works a charm, and it’s so easy to listen to as it hollows out your soul. The big surprise comes with “Casting Down Shadows,” where the band takes their core approach and layers it with epical Middle Eastern symphonics to arrive at something grandiose like a doom version of Led Zeppelin’s immortal “Kashmir.” It creates a strange hypnotic effect, and you lose yourself in the haze of time and space. It’s a really interesting song and shows a side of The Eternal that I want to hear more of. Things round out with “Everlasting MMXXVI,” a remix of a track off their 2004 Sleep of Reason album. It works here, and though the overall style is more stripped-down and Goth rock-based. These shorter style cuts remind me of the early stuff from Deathwhite, and that’s a good thing.

The Eternal know how to nail their chosen style to the wall, giving the Gothic/melodoom fan everything they could want. Mark Kelson’s vocals are perfect for this kind of dour doom, and he sells negative emotions by the truckload without having to strain or contort his voice to get the point across. His sullen crooning is beguiling, and when he steps the urgency up, things really pop. Kelson and Richie Poate are a potent guitar tandem, often keeping things minimalist while crafting classic Goth/melodoom harmonies that remind of what Greg Macintosh (Paradise Lost) does so well. Their playing is the mortuary drape that covers everything in cold hopelessness. This isn’t the most flashy of bands musically, but they don’t need to be to ensnare and bewitch you.

In my review for Skinwalker, I wrote, “If they ever learn to resist their fatter angels, they’ll drop a magnum opus that will shake the heavens.” Here we find The Eternal associating with angels on Ozempic, and the results are impressive indeed. I’m anxious to see if Celestial is indicative of where the band is heading. I’m fully on board if that’s the case, and if not, I can deal with the zaftig angels too. I’m easy when the doom is this sexy.



Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: January 16th, 2026