#danish-metal — Public Fediverse posts

If these Danes had their way, the entrance to Valhalla would greet the deceased with the sounds of bagpipes, tin whistles, violins, and, of course, your standard heavy metal instruments. Vansind has been marrying Viking metal with folk instruments since 2019. While it took them four years to release their debut, Mørket, they released singles and an EP in trickles while showing off their stuff live. Now, 2026 sees them return with a vengeance on Hævnen. I mean that semantically rather than literally—hævnen is the Danish word for revenge, and Vansind seeks to explore “themes of revenge, betrayal, freedom, and sacrifice.”1 So put on your best Viking garb and pour yourself a heaping cup of mead as we check out what these Danes have to offer.

Take the melodic death metal of Amon Amarth and mix it with the energetic folk of Finntroll, and you’ve got a good base for Vansind. Despite the darker subject matter at hand, Hævnen is a much more upbeat sort of Viking metal than the likes of Bathory or Thyrfing—in fact, it’s much closer in style to symphonic power metal. Songs follow formulaic structures with catchy choruses and tons of hooks. Vansind has a little Coronatus in them, and their blend of beauty and beast style vocalists bears comparisons to Epica. J. Asgaard takes on the role of the beast, with death growls reminiscent of Amon Amarth’s Johann Hegg, and he allows enough melody to permeate his performance to create a compelling presence. Line Burglin, as Asgaard’s foil, has an uplifting, folky lilt and practically steals the show. Just listening to her part on the showstopping opener “Det Største Offer,” as she accompanies an inspired tin whistle, is pure bliss. Then on “Alvild,” while Asgaard’s growls portend darkness, Burglin’s catchy chorus transports you to a happier place. When Hævnen ends on the lower energy “Skæbnens Tunge Vej,” it’s thanks to her that the track doesn’t feel out of place.

Due to their adherence to unique folk instruments, Vansind has a distinct sound. And boy do they have hooks: guitar hooks, bagpipe hooks, tin whistle hooks, vocal hooks, right hooks, left—whoops! Wrong sport. The promo credits Rikke Klint Johansen with the bulk of the folk stuff, namely bagpipes, tin whistles, and keyboards. She does a commendable job of making those instruments some of the most memorable parts on Hævnen. The whistle in particular, plays a surprisingly prominent role. Along with the opening song, Johansen performs some catchy whistle parts on “Blodhævn” and “Det Sidste Nådeskys.” She’s also excellent on the bagpipes, with some great moments on “Alvild,” “I Yggdrasils Skygge,” and the finale.2 And, of course, the heavy metal parts are no slouch either. Danni Jelsgaard’s work on the kit provides a huge boost of energy that never wavers until the final tune. Kirk Backarach and Nikolaj Madsen both play some enjoyable melodic leads (“Det Største Offer,” “Blodhævn,” “Truslen Fra Dybet”) and a nice solo on “Alvild.” Instrumentally, there’s no weak link.

Though tons of fun, Hævnen lacks the edge and daring to really push it into great territory. One issue is Asgaard’s vocals. While overall an enjoyable performance, they feel too polished, monotonous, and lacking in power. Some extra volume and depth from his growls would have helped the tracks carry more weight, but either Asgaard or the mixing falls short. While the formulaic nature of the music serves to highlight the hooks, it also means Vansind plays things a little too safe. Some might also take issue with the song lengths, which mostly run at 5+ minutes. “Det Største Offer,” for example, is the longest at nine minutes, but I personally never felt bothered by this. When the hooks are as great as they are here, it’s tough to complain about repetitive formulas or songs running a little longer than usual.

Vansind have put out an incredibly fun piece of folk metal. “Det Største Offer” currently sits atop my song o’ the year list, and it’s going to be a tough one to top. While the rest of Hævnen doesn’t quite reach the lofty heights of that opener, there are plenty of other bangers throughout. This fun sophomore outing instills lots of hope for what Vansind can offer in the future. While the halls of Valhalla promise plenty of ecstasies for warriors slain in battle, Hævnen serves as an adequate substitute for the rest of us, especially alongside a generous helping of mead.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Mighty Music
Websites: Bandcamp | Facebook
Releases Worldwide: May 1st, 2026

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.

I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorem are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you!

Foetorem specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault.

Incongruous Forms Of Evergrowing Rot by Foetorem

And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorem recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well.

If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorem have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender.

Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorem have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Everlasting Spew Records
Website: Album Bandcamp
Releases Worldwide: March 27th, 2026

Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?

Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.

Mills of Tribunal by Turbo’s Tribunal

For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.

The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.

Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.

Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026

One of the common complaints I see about blackgaze is that it tends to be toothless compared to its black metal forebear. This is part of the personal appeal to me, but, in any case, Denmark’s MØL has built a reputation for bucking that trend. They managed to impress even hardened metalheads like Mark Z., who found their 2018 debut, Jord, biting enough to shake him from his blackgaze apathy. Nuclear Blast Records scooped up MØL for the release of Diorama in 2021, which largely picked up where Jord left off. Now, after a fairly lengthy absence, we have Dreamcrush. Is MØL still interested in being one of the fiercest voices in the blackgaze genre?

While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

DREAMCRUSH by MØL

These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL still juxtaposes ethereal and heavy with the skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
Releases Worldwide: January 30th, 2026