#blackened-death-metal — Public Fediverse posts

You may note that I haven’t published a full review in more than a week. You may also note that my most recent contribution to AMG Productions was a ranking for the best of death metal’s old guard. You may peek at the score below and question my ability to remain objective in light of my recent musical diet. But worry not, dear reader! Objectivity is my prime objective, Fairness and Justice my guiding lights. You can rest assured that this review of Ignobleth’s debut LP, Manor of Primitive Anticreation, contains naught but Unbiased and Very Correct Opinions™.

Hailing from northern Italy, Ignobleth peddles a unique blend of black and death metal. This trio, comprised of A.L. on guitar, A.B. on bass and vocals, and M.O. on drums, combines the esoteric psychosis of Ritual Ascension with the grime and filth of Rotpit and an HM2 pedal. The result is a worship service held in the darkest recesses of a city sewer system. Murky, mangy riffs echo and multiply as they careen down lightless, sweating passageways, and haunted rasps reverberate in the mire. Together, Ignobleth creates an oppressive and turbid atmosphere, most acutely felt on “Proselyte Pig I” and “And the Lunar Mass Shatters.” The loping, swinging main riff of the former evokes gothic, vaudevillian horror, while M.O.’s icy kit work on the latter encourages eldritch panic.

Speaking of M.O., his percussive assault is perhaps the highlight of Manor of Primitive Anticreation, but not for the reason you might think. Indeed, he effortlessly oscillates between blackened blasts, death-infused rhythms, and punky beats (“Warped Abyssal Architecture,” “Forked Tongues”), but the predominance of the drums here is largely a result of a very subpar production job. Vocals and drums are centered on an unnecessarily wide sound stage with strings as far left and right as they can go, and as a result, each track feels less like a cohesive song and more like instruments playing at the same time. And while A.L.’s guitar is fairly clear when spotlighted for leads and hooks, the second the rest of the band joins in, it becomes barely audible mush. Prime examples include “Obelisk of Deformity,” which, during faster paced sections, becomes a wall of indeterminable sound, and “Proselyte Pig II,” which drowns its main riff in vat of sludge, such that I can barely hear more than two notes when I know A.L. is playing several more.

Would that the woes of Manor of Primitive Anticreation stopped there. Ignobleth includes an intro and three separate interludes on an album spanning only 11 tracks (“Intro,” “Spores,” “Interlude: Lecherous Sex Magick,” and “Manor of Primitive Anticreation”1). Interludes and ambient pieces can work, but here, they’re little more than minorly spooky synths, garbled spoken word, and choral bits that annoyingly interrupt the main course. Manor of Primitive Anticreation boldly includes even more ambience in the outro of “And the Lunar Mass Shatters,” and the last two minutes of album closer, “Among the Seventy-Two Embalmed Ekpyrotic Gods.” Even if the pacing were tighter and less stilted, the songwriting itself leaves much to be desired. Repetition runs rampant through the album (“Among…,” “Proselyte Pig I,” “Obelisk of Deformity”), blunting riffs and passages that could have bitten much harder. There’s also an overreliance on wordless howls over mildly furious instrumental sections. It’s so frequent that song structures seem composed almost entirely of bridges and solos with few verses or choruses to be found, compounding the album’s repetitive tendencies.

This has been a frustrating album to work with. While Ignobleth’s tone is deliciously vile, the songwriting and production leave me deeply disappointed. Over several spins, I got the distinct impression that Manor of Primitive Anticreation isn’t blackened death metal so much as something that sounds vaguely like it. It’s fine in the background, but direct attention reveals it to be a shallow imitation. Much of Manor of Primitive Anticreation seems geared toward a live audience—song structures, tone, prevalence of blast beats—and I have no doubt that it fucks quite hard in such a setting. Unfortunately, this style does not translate well to a studio production, much less the review process.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Websites: Bandcamp | Instagram
Releases Worldwide: April 17th, 2026

There are few concepts in the Western tradition as misunderstood as that of “the death of God.” It is not a triumphant proclamation, nor a call for apathetic nihilism. What has been coined in recent online discourse as a ‘meaning crisis’ is only barely getting the point. The Loss of Transcendence—some universal, ultimate, mind-independent Truth and set of values—is a beginning, an event that should prompt critical thought and action and confrontation of a human condition that we sedate ourselves out of with belief in a higher power or sense and reason in the universe; hope; or the rescinding of responsibility to the idea that ‘nothing matters.12 The Great Observer seem to have done their homework for the most part, with their debut channeling their thrashy blackened death into a philosophical call to action that blends Existentialism with Stoicism and Epicureanism. Fresh on the scene and immediately going all-in in aggression and storytelling, what can The Great Observer give to us?

On the face of it, Loss of Transcendence is standard black/death/thrash, with a rotating emphasis on each of those three components. Sticking primarily to up-tempo, gritty riffing in a vein somewhere between Necrophobic, Tomb Mold, and Morbid Angel—though a less flashy iteration—The Great Observer do nonetheless find time to linger in some cavernousness that vaguely recalls Disembowelment. They further emphasise their mean streak with a pervasive vocal echo that adds to the grime of the throaty howls and is compounded during the many instances when such vocals are multi-tracked or delivered as a group. But not all of this energy is used in service of evil; there’s a strong anthemic side to these choruses and a jaunty bombast to many a beat. In many ways, it gives off the aura of classical extreme metal—back when Black Metal was an album title, and ugliness, speed, and aggression were the name of the game in a fundamentally different way to how they are now. And yet, under the layers of dirt and behind the malevolence lie small seeds of nuance, and it is to Loss of Transcendence’s great detriment that they remain scattered seeds alone.

Loss of Transcendence flirts with many things—intrigue, atmosphere, tenacity—but never quite wins any of them over. Riffs generally check boxes for pugnacity, but even at their most brutish and slick (“The Great Observer,” “Impervious Creation”), they have no edge, no force. At the worst end, guitar lines are entirely blunt thanks to nondescript, generic-sounding melodies and patterns (“Herald of Thorns,” “How Far the Faithless will Venture”). It’s unfortunate that all of the best guitar sits in the record’s back half, with “Impervious Creation” and “The Weight of Being Free” delivering shimmying, sliding shredding capable of winning over the harshest of critics, and the latter track featuring a genuinely beautiful, buttery smooth solo that combines everything great about grimy yet gorgeous extreme metal. The frequent use of group vocals, which sometimes creates an impressive miasma of harrowing calls (“Impervious Creation,” title track), falls awkwardly flat when delivered as rousing shouts (“Sentenced at High Noon,” “At The Summit of Consciousness,” “The Weight…”) thanks to the latter’s surprising corniness. The Great Observer also experiment in an exasperatingly random manner with distortion, with a liquid, Worm-adjacent effect appearing in random snatches never to develop (“Parénklisis (Fallen Into Existence),” “How Far…,” “The Weight…,” title track); and the worst part is that it’s good! The pace, generally high, is also stymied by not one but two synth-heavy instrumentals as “Parénklisis…” opens the album with a gravitas that never appears again, and “Ékstasis (The Lonesome Path)” needlessly presses pause for two minutes of ambience and whispering.

In reality, Loss of Transcendence feels frustratingly lukewarm. A mix that pushes guitars erratically between the far background and the very forefront, and a baffling decision3 to layer vocal tracks and reverb like lasagna over these riffs (“The Great Observer,” “Sentenced at High Noon,” “The Weight…,” title track) makes what could be decent blackened death sound almost poor. Almost the only time the guitars sound good is when they sound great, soloing in sudden clarity (“Sentenced…,” “Impervious Creation”) and with fluent expressiveness (“The Weight…,”), and these highlights appear exclusively in the second half. Given this, it becomes harder to forgive the swing of strangely upbeat gang shouts (“Sentenced…,” “Herald of Thorns”) and a brusque attitude to riff-writing that tends to shy away from character.

It’s always a shame when a concept I’m particularly interested in is delivered in mediocre form. Loss of Transcendence strikes as an album that would have had heads spinning and Bibles being reached for in the early 90s but now its grit cannot make up for its shortcomings. Failing to develop their best ideas and sidelining their assets far too often, The Great Observer still haven’t seen how to capitalise on their strengths, and Loss of Transcendence loses more than higher values as a result.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: BlackSeed Productions
Website: Bandcamp | Facebook
Releases Worldwide: April 30th, 2026

Free download codes:

Entropy Eternal - You Fought Well

"Blackened Death Metal inspired by Hans Zimmer’s Dune suite “You Fought Well”"

https://getmusic.fm/l/SzjQss

#darksynth #blackeneddeathmetal #symphonicdeathmetal #music

#NewRelease #Volcandara

Dude, this new album is amazing! I also liked the last album from them, but I feel like it’s a step forward.
https://volcandra.bandcamp.com/album/beyond-the-will-of-mortals
#blackmetal #deathmetal #blackeneddeathmetal #melodicdeathmetal

Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way.

Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly.

Via Necropolis by Graufar

Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums.

Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front.

All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by.

Rating: Very Good!
DR: NA | Format Reviewed: WAV
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

Hagoroth – Fabric
#BlackMetal #BlackenedDeathMetal #DSBM #Metal #progressiveblackmetal
CC BY (#CreativeCommons Attribution) #ccmusic
https://hagoroth.bandcamp.com/album/fabric

For #ThursDeath:

#RiversAblaze: Inexternal Dread

https://album.link/i/1874089287

#BlackenedDeathMetal #ProgressiveDeathMetal

FFO #Bedsore #Phendrana #WhiteWard

Free download codes:

GREH - Dysphoric Devotion

"Punishing and emotionally charged blackened death assault, fusing groove and dissonance into a devastating statement of rage!"

https://getmusic.fm/l/8s3Uas

#punk #deathmetal #doom #sludge #blackeneddeathmetal #balckmetal #music

Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.

These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!

Kenstrosity’s Freaky Foursome

Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]

Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.

Forefathers’ Eve (Redemption) by Upiór

KadavriK // Erde666 [January 9th, 2026 – Self Released]

Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!

Erde 666 by KadavriK

Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]

Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.

Like Crushed Violets and Linen by Luminesce

Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]

As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]

Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]

Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]

Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.

In Unreality’s Coffin by Ectovoid

Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]

Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

Turpitude // Mordoré [January 1, 2026 – Self Released]

Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]

Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.

Neverealm by Valiant Sentinel

Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]

Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]

While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!

Abyss Call To Abyss by Skulld

Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]

What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!

Mountains Of Madness by Total Annihilation

Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]

On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!

Drifting Through Voids by Polaris Experience

It’s not often I underrate something, but if there were ever a legitimate example, it might be my review of Arcane Paths to Resurrection, the debut from Greek black metal trio Decipher. Upon revisiting it recently, I experienced newfound intense appreciation for their slightly crusty melodic black metal, and this all stemmed from my initial spins of sophomore ΘΕΛΗΜΑ.1 Not overly atmospheric, not supremely dissonant or integrated into death metal, nor straightforwardly raw and aggressive, Decipher maintain a style in Thelema that’s as subtly intriguing and melodic as it is punchy and to-the-point. The word Thelema means will2 and while there’s no lyric sheet or storytelling in promo material to elucidate the concept, the snatches of audible references to Satan, and the generally extreme, yet anthemic vibe of the music broadcast defiant rebellion and the burden of being, which suit that word well.

Decipher’s sound is broadly the same as on Arcane Paths, a Watain-meets-Dissection viciousness tempered—if you can call it that—by a darker, eerier side that pulls more from Icelandic acts like Svartidauði. Whilst remaining committed to frequent use of group-chanted and screamed vocal lines and plenty of recognisably malicious blackened riffery, Thelema sees the band experiment a little more. While not meandering—with the possible exception of “Bound to the Wheel”—songs spread their themes into more variations (“The Black March,” “Towards Renaissance”) or uncanny soloing, whilst rhythms shift more often, and build tension for longer before unravelling and transforming. The barely five minutes added is enough for the compositions to have more presence, whether with energetic malevolence (“Return to Naught,” “Seven Scars”) or ominous finality (“Liturgy”). Skirting the precipice that would see a descent into atmo-black, there’s a relaxation and a layering to the melodic lines that deepens and darkens the sound.

ΘΕΛΗΜΑ (Thelema) by DECIPHER

Thelema demonstrates that Decipher’s command of rhythm, melody, and grit has only gotten better, as it compels with the joint force of hookiness and evil. Using recurring patterns of riff, vocals, and percussion that each cue one another, Decipher create a thrashing feeling of push-and-pull that’s downright magnetic. A group wail precipitating a gnarly descending arpeggio (“Seven Scars”); the way a guitar clambers up and down to the precise beat of the drums (“Return to Naught,” “Hail Death”). These manifest organically out of existing tempos—blast beat (“Seven Scars”), march (“The Black March”), or shuffling skitter (“Towards Renaissance”) alike, making the shifts seamless and the identity consistent. Perhaps this is black metal that’s not unusual on paper, but adorned with Decipher’s now recognisable bright yet sinister melodies, and continually layered vocals, it sounds freshly thrilling. The tingles that go down my spine when I hear the first riff on opener “Return to Naught,” the solo that ends “The Black March,” and the overlaid cries and urgent tremolo of “Litany” have not yet failed to materialise.

Thelema’s enjoyability and power over its listener is also bolstered by Decipher’s additional refinements in areas not lacking before. By severing any instrumental interlude or protracted intro, the energy—however it transforms—and momentum are maintained, and the album has a more robust through-line. Rhythmic and thematic shifts flex and emerge variously with emphasis and mournful or spiteful intensity. The wails are just as agonised and chest-emptying in the latter half as they are in the first. Decipher’s production has also expanded to accommodate their slightly more nuanced and exploratory sound. Thelema sports a roomy mix that keeps the interspersed vocal and guitar lines, and the proudly beating drums and crashing cymbals equally audible and striking.

I recall bemoaning a lack of zhuzh in Arcane Paths and, whether or not I still consider that justified, it definitely wouldn’t be here. For all the new layers and senses of intrigue, Thelema remains a black metal album with standout moments that threaten to overshadow and desaturate the more standard fare, and may strike some harder than others. It yet undeniably shows Decipher carving out a decisive space for themselves that adumbrates a dark, delicious presence. Thelema stands one step behind the inexorability that confers greatness in its sphere. But it’s a small step.

Rating: Very Good
DR: 11 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 20th, 2026

#NowPlaying

Still exploring Arabian metal. Found this from Bahrain. It combines folk elements with blackened death metal.

Narjahanam – Alzawabe'a
https://song.link/d/1508366952

#Music #Metal #BlackenedDeathMetal
#t4sMusic

Against I are neither a one-sided I Against I nor a Rastafarian Against Me!, but a Swedish blackened death metal trio of vocalist Fredrik Keith Croona (Cynical Existence, ex-Menschdefekt), guitarist Mathias Back, and drummer Anders Ström. Founded in 2022, Against I have been busy preaching disillusionment towards man’s better angels across two LPs and and two EPs. Into their third year, Against I are back with their third full-length album Anti Life, an anthem for everyone bitter against the world, religion and, probably, their parents. This kind of intense workload in such a short time could mean a variety of things. It could mean Against I are an exceptionally driven bunch. It could also mean they’re on a fast track to burning out on Anti Life. What could it be?

I won’t faff about: Anti Life embodies the worst qualities of both black and death metal. Across nearly an hour of music, Against I slop out grooveless grooves (“Darkness Within,” “Where We Lay to Rest”) and flat tremolos (“In Death’s Grip,” “Descend”) at an unhurried mid-pace under tepid rasps and admittedly hefty gutturals (“Empire of Bones”). Against I occasionally crack out a slick drum groove (“Sacrifice,” “Empire of Bones”) but mostly stick to punky d-beats (“Built to Destroy”) or double-kick plods (“Symphony for the End”). Anti Life is heavy on gain, light on bass, and borderline bereft of dynamics or variety. Faux choirs and synths play chords to enforce its blackened aesthetics. Rinse and repeat, and you’ve got Anti Life in a nutshell. With such a limited toolbox stretched out over such a long runtime, Against I shaped a blackened death album with none of the majesty or atmosphere of black metal’s greatest hits nor the depraved brutality of death’s best.

Anti Life by Against I

Anti Life is made worse by simply clueless songwriting. Against I stick to an overly limited scope regarding song structure, with almost every track ambling between segments with little urgency or patience to let passages evolve. Nearly every chorus is just a two-to-four-bar phrase repeated twice, usually exactly the same way each time. Despite the rigid formatting, these songs feel haphazard. “Darkness Within” has one of the most aimless riffs I’ve ever heard, dicking around a handful of low notes without an apparent goal, while “In Death’s Grip” features completely random pitch-shifted vocal blips, and “All Hope Is Gone” opens and closes with electronics tacked on with little regard to the song in between.1 And then there’s the lyricism, unfortunately apparent due to Anti Life’s discernible rasps. Amidst the incessant wave of banal metal, the constant diatribes of surface-level social commentary (“Throne of Tyranny,” “War Never Ends”), tiresome nihilism (“Anti Life,” “Symphony for the End”) and premium edgelord lines like “In the land of rape and honey, only the stupid survive” (“Tempel of Greed”)2 turn Anti Life from a rough listen to a near insufferable one.

But worse than Against I having lots of bad ideas, Anti Life just doesn’t have much of anything at all. So little happens across so much time that recalling any particular moment from Anti Life is laborious. It’s telling when “Throne of Tyranny”‘s milquetoast melodeath riffing or “Greed”‘s3 guitar harmonics in its bridge—standard features in most any generic metal album—are standout highlights on Anti Life. Just constant knuckle-dragging chugs and spiceless tremolo riffs. There aren’t even any guitar solos. Or anything solos. Nothing to break up the monotonous patterns Against I are totally hellbent on maintaining. Typically, musicians strip back their sound to highlight certain aspects of their sound, but Against I don’t have anything to highlight on Anti Life. This is the most frustrating thing to write about: not the disaster album that swings and misses horrendously but doesn’t swing at all.

I don’t think Against I are inept—an inept group wouldn’t have gotten this far—but Anti Life is just terrible. Against I are spared from the dreaded AMG Unlistenable/0.5 Hall of Shame by the virtue that Anti Life at least executes the basic mechanics of metal music proficiently, if not exceptionally. This is a joyless, deeply tedious listen, and fans of both death and black metal can find anything on Anti Life on any number of other, better records in far more interesting iterations. I’m glad Against I released Anti Life close to the start of spring because this record’s uninspired negativity has got me seeking out fresh air and sunshine out of pure spite against it. I’m anti-this.

Rating: Embarrassing
DR: 3 | Format Reviewed: 320 kbps MP3
Label: Twisted Flesh Recordings
Website: facebook.com/againstIband
Releases Worldwide: March 13th, 2026

#NowPlaying #FuneralPile
The first #newRelease of today’s release day is a #deathmetal #blackeneddeathmetal #doommetal band from Germany. Actually just half an hour from me 😀
This record has a really great flow and feels really solid. Nothing extreme, still a proper death album with different influences.
Give it a spin!

https://album.link/wnqdz2gdwcxrs

So apparently 1914 are having a hard time selling tickets to their shows across Europe.
I don't understand why, their stuff is fantastic, so if you're into Death and/black Metal, this is a band to know.

Go see them live!

https://www.bandsintown.com/a/7958840-1914

#MetalheadConcerts #1914Band #DeathMetal #BlackMetal #BlackenedDeathMetal

For #ThursDeath:

#Phasma: Purgatory

https://album.link/pgvd8kdnpb7rf

#BlackenedDeathMetal

FFO #DevenialVerdict #Esoctrilihum #Veilburner

Something must be in the water over in Poland, because the country churns out quality death metal like few others. The phrase ‘Polish death metal’ always grabs my attention, whether it’s technical like early Decapitated, thrashy à la Vader, or as blackened as Behemoth. Such was the case when I espied Shine’s Wrathcult lying unclaimed in the promo bin. The invention of guitarist Tomasz Dobrzeniecki (ex-Hazael), Shine unleashes a Polished debut of blackened death, eliciting prompt comparisons to compatriots Hate and Behemoth. While both provide apt reference points, there’s an acerbic tunefulness that evokes At the Gates and Old Man’s Child, as well. Given the glamor of these benchmarks, does Wrathcult let a light Shine down on Poland’s latest blackened death metal opus?

If you give me a word to sum up Polish metal, I’ll say ‘conviction,’ which Wrathcult oozes with calculated rabidity. Whether brandishing steady chugs, rapid-fire trems, or slinky, groove-infested crawls, Shine feels focused and frothing with finely-tuned fire. Dobrzeniecki’s description of the music and lyrics pins the overarching inspiration of Wrathcult on pre-Christian beliefs and the arcane powers of primeval mysticism, specifically calling out the intersection of ‘Germanic, Norse, and Slavic mythology.’1 While it’s not a theme I would’ve divined on my own, this context adds helpful color once Shine shows me where to look. In particular, the clean singing (“The Lamb Against the Wolf”) and chanting (“The Horror of the Night”) sprinkled throughout Wrathcult often give proceedings a ritualistic zest, culminating in one of my favorite tracks, “The Necklace with Runes.” The clean drawl at the beginning is underscored by finely crafted, deeper vocal layers, and while I’m generally unmoved by rhythmic spoken word, singer Marek Krajcer’s performance reads as a ceremonial incantation, reinforcing Wrathcult’s primordial basis.2

Wrathcult by Shine

Musically, Shine exhibits a cunning understanding of the crossroads between death metal, black metal, and melody. Besides the cleans, Krajcer projects a deathly growl that’s at once confident, scathing, and commandingly effective throughout Wrathcult. Guitarists Tomasz Dobrzeniecki and Mateusz Waśkiewicz supply equal doses of second-wave fervor and dulcet leads that are as barbed as they are captivating. Mid-album song “Oddajcie co moje” sports not only the hookiest melody of the bunch, but also contains one of the best bass grooves. Though subtle, Wojciech Gąsiorowski’s ambling bass-lines burble and thump with delightful heft, solidifying a resonant dimension on tracks “The Lamb Against the Wolf” and “Wrath of the Hammer.” With the high caliber of musicianship featuring on strings, an anemic drum performance could dull the entire showing. Thankfully, Paweł Duda seizes the opportunity with gusto, lashing his kit with precision strikes. Overall, Shine lays me on the ground with meaty, well-executed performances that belie Wrathcult’s debut status.

While many moments on Wrathcult fly me in the sky, a few aspects creep in and dim the power of Shine’s light. The production bolsters strong performances across the album, allowing proper room for each instrument to gleam—especially the bass. The forty-six-minute runtime keeps Wrathcult digestible, although riff repetition presents an opportunity to trim thirty-to-sixty seconds from several tracks for a tighter experience. And while Shine serves up several great jams on Wrathcult, a few weaker cuts create dips between the peaks of its strongest material. To be clear, there are no bad or inessential songs that I skip,3 but I do find myself waiting out some moments to get to better ones. Still, there’s variety in the songwriting that keeps affairs engaging and blood pumping through Shine’s blackened heart.

Shine’s Wrathcult should garner its fair share of devotees, living up to the high expectations of Polish blackened death. It’s taken many spins to unlock Wrathcult’s otherworldly secrets, and I’m of a mind that there are even more treasures to unearth. Anyone looking for melodious fury and a band with possibilities on the horizon should be paying attention. When I snatched Shine’s debut, I asked myself, ‘What will I find? Will love be there?’ While I can’t guarantee the same results for you, my answer is a resounding, ‘Yeah.’

Rating: Very Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 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

Free download codes:

DoSounDiable - Ö̢́ͨ̋ͅꪜ Ȧ̰ͭ͛̿̚𝚜ђꫀ𝚜 & D̯͍̲͕́̈́͆ͤ̏͐яꫀąɱ𝚜

"Cenizas de vida, sueños de muerte."

https://getmusic.fm/l/9hWfAK

#metal #blackmetal #blackeneddeathmetal #extrememetal #occultblackmetal #music

Seeing an album described as “blackened death metal” almost always gets my juices flowing. The problem with that tag, however, is that it can mean anything from weird avant-garde blackened dissodeath (yuck) to Christcrushing necronuclear Blasphemy-worshipping goat metal (fukk yeah!!). But Bloodred are neither of those things. This German band is technically a duo but is really more like the solo project of vocalist, guitarist, and bassist Ron Merz, who’s been enlisting the talents of drummer Joris Nijenhuis (ex-Atrocity, ex-Leaves’ Eyes) since the band’s first releases back in the mid-2010s. I admittedly hadn’t heard of these guys when I saw their name crop up in our promo bin, but I decided to give their back catalog a whirl when I saw Amon Amarth was tagged as a similar artist on Encyclopedia Metallum. It turns out that comparison isn’t entirely off the mark, as the group’s three prior albums generally do sound like a band capitalizing on Amon Amarth’s more epic moments while increasing the black metal influence and stripping away a lot of the melody.

With fourth album Colours of Pain, Ron has again kept himself within the blackened death sphere, this time by producing what’s essentially a modern black metal album that still contains enough variety and heavier flourishes to keep it from being trapped solely within that genre’s confines. Roughly half the songs here are similar to the opener, “Ashes,” which faintly recalls Satyricon in how it bobs forward on rocking rhythms that support Ron’s wretched, raspy growls and headnod-worthy riffs. The song is a decent tune with guitar-work that’s clear and assertive, if somewhat unremarkable. Of the other songs in this style, “Mindvirus” and the closer, “Resist,” are the best of the bunch, with snappy mid-tempo drumming and catchy, “riding to war” riffs that are sure to earn them a spot on my future jogging playlists. In much of the record’s second half, things drift more into post-black metal territory, with tracks like “Death Machine” using slightly slower passages, flashes of melody, and high-register guitars to conjure the melodrama of stuff like Woods of Desolation.

On paper, Colours of Pain seems to be a pretty diverse set of songs. Yet, somehow, it still comes across as oddly homogenous. In part, this issue may be caused by Joris’s drumming: While I enjoy the man’s beats, I wouldn’t call his performance particularly dynamic, with much of the album cruising pleasantly along at a similar tempo. As a result, many of the songs end up having a similar overall feel, even when the underlying riffing is quite different. The blame is not solely his, however. While Ron employs some decent riffs here, he never delivers anything that truly grabs you by the balls, resulting in an album that requires a decent amount of undivided attention to reveal its charms. The production has a clear and balanced sound that reminds me of Art of Propaganda signees like Harakiri for the Sky, which works for Bloodred’s style but exacerbates the album’s homogeneity a bit by coming across just a touch too loud and clean for me.

Despite these shortcomings, Colours of Pain remains an enjoyable release overall, and its highlights become increasingly apparent with repeated listens. The title track, for instance, shifts between a nice shuffling, mid-tempo riff and more traditional black metal hammering, resulting in a cool song that sounds something like a socially-conscious version of Belphegor. “Heretics” is another good cut, featuring an odd sidewinding riff and a particularly combative tremolo line. The backing operatic vocals in “Winds of Oblivion” and the climax of “Ashes” are also a nice touch, with the former track also serving as one of the album’s only true “slow” songs (making it a perfect lead-up to the boisterous closer, “Resist”).

Colours of Pain is the type of album that you can put on for any extreme metal fan, and while they may not love it, they almost certainly won’t hate it. Although initial impressions suggest an album that’s too inoffensive for its own good, repeat listens reveal a record with enough quality ideas and variety to keep it from being just extreme metal elevator music. What’s more, a perusal of Bloodred’s website shows that Ron seems quite passionate about the music he makes and the politically tinged lyrics that color these songs. In all, if you’re looking for a modern extreme metal album that goes down easy, you could do far worse.



Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: bloodred.bandcamp.com | bloodredband.com | facebook.com/bloodredofficial
Releases Worldwide: February 13th, 2026

Herezjarcha—Arch-Heretic—is the sophomore of Pennsylvania-based Profane Elegy, who are determined to escape genre boundaries. Following the trajectory set by 2023’s When All is Nothing, it sees the co-existence if not coalescence of black and death metal, but also an atmospheric, ambient kind of doom, and only doubles down on each aspect. It’s not the first time a metal artist has claimed to eschew categorization, and many, if not most, modern artists in extreme subgenres borrow from less extreme ones and incorporate generous reverb. Profane Elegy’s claims, therefore, don’t excite special interest whether you’ve heard the debut or not; listeners dis/like their sound on its own terms. However, there is actually something different about the way they combine their disparate aspects, and Herezjarcha is all the stronger for it.

Dropped blindly into Herezjarcha at any random moment, you’d be forgiven for taking it for trve blackened death—reminiscent in particular of Keres, or a less-polished Vredehammer. Rough snarls rip like cold wind across mean-faced arpeggios skittering their way up and down sinister scales to unforgiving percussive assaults, satisfyingly gnarly. But with a snap, Profane Elegy’s mood swings from malice to despair, and clean vocals lead a mournful refrain, layered, post-black strums dominating the soundscape. Opener “Exeunt Omnes,” which begins—as many others do—with wild, thrashy black metal energy, prefigures the way the album repeatedly changes the vibe and takes its listener by surprise, as the riffs soften and are joined by softly sung “ohh-hh-hh”s. Their blackened base is rent by change, from stripped-back ambience to hearty sung-screamed duets, black n’ roll irreverence to sludgy blackened doom and frosty black metal proper. Though sounding very little alike in actuality, the best comparison to Profane Elegy’s marrying of a vibrant blackened death with overt melodicism led by cleans is Slugdge.1 Herezjarcha is far more intriguing and multifaceted than may appear on face value.

Herezjarcha by Profane Elegy

Profane Elegy do nothing by half-measures, and throw themselves with equal vigour into both their heavier and softer sides. Their blackened death is gnarly and dynamic, whether overtly aggressive (“I AM”) or in squealing, drawling pursuit of flair and acrobatics (“Haunted” “And Then We Are Gone”). The second-wave-adjacent harsh vocal production, slightly muted and noisy, adds to the overall rawness, intensifying the more straightforwardly brutal and giving grit to the more melodic, atmospherically inclined. On the former side, things really do get heavy, and the churning, howl-ridden soundscape is irresistible, but as the album progresses, it’s the latter that sees Profane Elegy doing some genuinely cool things. Eerie scales blend into a layered cascade of strums (“As My Heart Turns to Ash”), or invite the chords of melancholia to join them (“The Accuser”); more and more space is devoted to variously stripped-back quiet. Things don’t just hang in reverb; space opens in which a savage riff briefly grows mournful, and after few turns of tension, an almost gazey feel prevails as cleans take the lead (“As My Heart…”). It’s not the addition of atmosphere that’s good, it’s how Profane Elegy positions a mournful, post-adjacent mood with their harsh blackened side that manages to not sacrifice either, even when combined.

Yet, in committing as fully as they do to the spirit and execution of their disparate visages, Profane Elegy demonstrate that they haven’t quite refined the formula for their coexistence. The churning, variously vicious and epic blackened death on display on Herezjarcha is raucously enjoyable, while the vulnerability and atmosphere brought in by other influences create a powerful emotionality and works very well in combination. This doesn’t prevent the slightly awkward way one transitions to the other—particularly in the record’s first half. The balance and integration do improve as the runtime progresses, to the extent that the latter end, if stretched to the length of a full LP, would receive a higher score of at least one half figure. Still, the difference in the sound between the raw and ugly and the comparatively glossy is marked and can give the impression that one is suddenly listening to a totally different artist when the former switches places entirely for the other.

What Profane Elegy do achieve with Herezarcha, however, is to assert their skill and personality. Amidst a sea of underground metal artists pitching their bold and subversive takes, Profane Elegy stand in the sureness of honest distinction. They might not have cracked the complete execution yet, at a slim 38 minutes, Herezarcha is more than worth the time it takes to experience their unpolished expression.

Rating: Good
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

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