#doommetal — Public Fediverse posts

STINKING LIZAVETA (Estats Units) presenta nou àlbum: "Cassandra, Prophet of Doom" #StinkingLizaveta #DoomMetal #StonerMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

STINKING LIZAVETA (Estats Units) presenta nou àlbum: "Cassandra, Prophet of Doom" #StinkingLizaveta #DoomMetal #StonerMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

#Saturdoom time and the seasons are turning towards gloom and darkness again. For me this means excellent times to listen to doom music.

Next week will be #SaturdoomLive at Into The Void in Leeuwarden (NL) and I’m especially looking forward to;

👥 Daevar
💿 Amber Eyes
🎶 Caliban and the Witch
🔗 https://musiccloud.io/94ZRLaZI

Great doom metal from Germany that has a groove like no other!

#Doom #DoomMetal

REMOTE VIEWING (Regne Unit) presenta nou àlbum: "State Violence" #RemoteViewing #Sludge #DoomMetal #Setembre2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

REMOTE VIEWING (Regne Unit) presenta nou àlbum: "State Violence" #RemoteViewing #Sludge #DoomMetal #Setembre2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

EARLY MOODS (Estats Units) presenta nou àlbum: "Ready for the Grave" #EarlyMoods #DoomMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

EARLY MOODS (Estats Units) presenta nou àlbum: "Ready for the Grave" #EarlyMoods #DoomMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CREEPER BUD (Estats Units) presenta nou àlbum: "Creeper Bud" #CreeperBud #Stoner #DoomMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CREEPER BUD (Estats Units) presenta nou àlbum: "Creeper Bud" #CreeperBud #Stoner #DoomMetal #SludgeMetal #Setembre2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

LASER DRACUL (Suècia) presenta nou àlbum: "Hin Håle Blues" #LaserDracul #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

LASER DRACUL (Suècia) presenta nou àlbum: "Hin Håle Blues" #LaserDracul #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TERRA BLACK (Suècia) presenta nou àlbum: "Mirage" #TerraBlack #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

TERRA BLACK (Suècia) presenta nou àlbum: "Mirage" #TerraBlack #Stoner #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

RUNEMAGICK (Suècia) presenta nou àlbum: "After Chaos: Nocturnal Vigil" #Runemagick #DeathMetal #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

RUNEMAGICK (Suècia) presenta nou àlbum: "After Chaos: Nocturnal Vigil" #Runemagick #DeathMetal #DoomMetal #Setembre2026 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

#CurrentlyListeningTo Green Lung - Necropolitan #HeavyMetal #DoomMetal #StonerMetal #OccultRock 🇬🇧

MAUNAH (Dinamarca) presenta nou àlbum: "Hjarta" #Maunah #DoomMetal #PostMetal #Setembre2026 #Dinamarca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MAUNAH (Dinamarca) presenta nou àlbum: "Hjarta" #Maunah #DoomMetal #PostMetal #Setembre2026 #Dinamarca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

New #Runemagick is out!

https://runemagick.bandcamp.com/album/after-chaos-nocturnal-vigil

#deathmetal #doommetal #deathdoom #newreleases

New #Runemagick is out!

https://runemagick.bandcamp.com/album/after-chaos-nocturnal-vigil

#deathmetal #doommetal #deathdoom #newreleases

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

#Drone & #doomMetal ... pause player when?

GRAVE CULTURE (Estats Units) presenta nova demo: "Grave Culture" #GraveCulture #Sludge #DoomMetal #Setembre2026 #EstatsUnits #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

GRAVE CULTURE (Estats Units) presenta nova demo: "Grave Culture" #GraveCulture #Sludge #DoomMetal #Setembre2026 #EstatsUnits #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

I've been listening to #GreenLung 's new album, Necropolitan, nonstop for the past couple of days. It's sooo good! Is anyone else excited about this one?!

https://youtube.com/playlist?list=PLM7DW1s56xOc&si=jLcUoy-GKf_XVkpz

#DoomMetal #StonerMetal #PsychedelicRock #OccultRock #Music

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Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Rain has started to leak into the ducts as Spring gets wetter and wetter. While I’m away, vacationing in a nice, dry, cloudy place, my minions are drenched and miserable. As it should be! But I’m still keeping tabs on their progress. Just because I’m having a great time somewhere else doesn’t mean these louts don’t have a quota to meet!

And meet their quota they shall, if only barely… BEHOLD!

ClarkKent’s Sci-Fi Soundbites

Epigram // Obsolescent [March 6th, 2026 – Self Released]

Combining the melodic black metal of Thulcandra and Dissection with the symphonics of Fleshgod Apocalypse and SepticFlesh, Epigram dropped a tasty little morsel with their debut, Obsolescent. The trio from Los Angeles puts on a spirited performance that borders on thrash. Tim Cauley’s display on the kit is a dominant force as he furiously blast beats his way from one song to the next. He turns “Wrath of Betrayed” into a piece of blackened thrash and proves tireless across Obsolescent’s 27-minute runtime. The lively vocal performance of Luis Echevarria adds further to Epigram’s charm. His low growls may seem underpowered, but his delivery is energetic and fun. He’s also the source of the symphonic instrumentation, via synths, though this aspect is secondary. Sure, there’s some choral chants (“Myrmidon,” “The Usurper’s Throne”), strings (“Hour of Gods”), and other vaguely symphonic sounds, but Epigram is most focused on the blackened melodic stuff. Shadi Absi throws together some great riffs, particularly on “Empires,” a work of pure black ‘n roll. The showstopper is “Hour of Gods,” with some sweet riffs and terrific energy. This song alone makes Obsolescent a worthy spin. Rounding out the musicians is Sanjay Kumar (Inferi, Wormhole), who plays solos on “Wrath of Betrayed” and “No Sin.” This is a promising debut for an eager new band.

Kal-El // Astral Voyager Vol. 2 [March 20th, 2026 – Blues Funeral Recordings]

Sporting the greatest band name of all time, Kal-El have been blasting listeners with stoner doom since 2012. Astral Voyager Vol. 2 is the follow-up to last year’s Vol. 1, and these pyschedelians’s seventh album overall. It’s been seven years since Witches of Mars was unfairly pummeled by a Kryptonian frog, and now I’d like to do the band justice by rescuing them from our filter. On this astral voyage, you get the pleasure of listening to six songs and 42 minutes of laid-back stoner tunes with plenty of fuzzy riffs—perfect for cruising around the cosmos. Their riff-centric approach puts them in the Black Sabbath camp, and the riffs on the likes of “Juno” and “The Prophecy,” which has a “Children of the Grave” vibe, are tons of fun. Further cementing the Sabbath comp is the vocal performance of Ståle Rodvelt, who carries a resemblance to Ozzy in his delivery. Longer cuts take more exploratory routes, akin to Sleep, yet still feature plenty to get your head bobbin’. “Asteroid” opens up with some sweet riffs that sustain its near eight-minute frame, while “The Nine” will still have you singing along in the final of its ten minutes. 1 So if you are in the mood for something chill that won’t put you to sleep, something that has the riffs without the risk of elevating your blood pressure, you should spend some time with Kal-El.

Thus Spoke’s Tectonic Treat

Bong-Ra // Esoterik [March 20th, 2026 – Debemur Morti Productions]

Not having received promo, it was only upon visiting DM’s Bandcamp page while writing up Aversio Humanitatis that I realised Bong-Ra had released another album. Asked whether Esoterik would be leaning more into enigmatic doom or spiky industrial electronica, the shapeshifting Bong-Ra said “yes”. The music is built on layers of dense, gritty atmosphere undulating with bass, breakbeats, and distorted riffs. Vocals are maintained from Black Noise—half-spoken snarls blurred by noise, shifting between blunt tunefulness (“Serpentine Helix”) and gargling venom (“Machine Halo”)—but at least half of the space is devoted to the purely instrumental psychosis. The saxophone is back, adding bizarre elegance and chilling eeriness in equal measure. Sometimes, Esoterik seems to be pitting its sultry and acerbic natures against one another; that chamber jazz side can take one by surprise (“Pleasures of the Flesh,” “Duality of One”), sandwiched as it is between a more punishing industrialism, but Bong-Ra just about gets away with it. This could be down to Esoterik’s efficiency in establishing (new) grooves—rhythmic and stylistic. Opener “Harmony Cloak” dispels misgivings on its skittering electronic oddity with a chorus that strikes a stylish balance between melody and dissonance; “Machine Halo” later follows in its stride. It’s an album that earns its moniker, right down to the particular spelling, and is worth the dark diversion it requires.

Grin Reaper’s Kooky Curios

Surturian // II – Hessian Spears [March 13th, 2026 – Crawling Chaos]

A German thrash band named after the legendary fire giant and guardian of Muspelheim? And on their debut LP, they launch an unrelenting, venomous assault filled with sticky riffs and bopping bass grooves in under forty-five minutes? Sign me up! Surturian plays thrash that smacks of early Testament and Metallica fused with the epic melodies of latter-day Kreator—hell, vocalist Tim Krogull reeks of Mille’s rancorous vocals, even though his name hews closer to a Voivodian disposition. In addition to thrash influences, Surturian calls upon Maiden’s signature gallops (“Cimmerians Wrath”) and anthemic melodies (“⁠Night Stalker,” “Do What Thou Wilt”), inculcating a lofty grandeur throughout II – Hessian Spears. Further fanning Surturian’s flames, the outfit navigates a varied landscape that imbues each track with its own character while never straying too far from their core sound. Hard-hitting offensives (“Blood Witchery”), slinky licks (“Night Stalker”), and oddball songwriting (“Beneath a Dying Sky”2) unite into an album I’ve regularly returned to since discovering it. If you’re feeling unSurtain, take it from me—it’s always a good time for some Hessian aggression!

Barn // Crucibles [March 24th, 2026 – Self Released]

Thanks to a certain dude/guy in the comments section, Crucibles didn’t slip past me undetected. Despite their dubious band name, Barn dropped a humdinger slab of tech death back in March that oozes with references to Unquestionable Presence (Atheist), Focus (Cynic), and, to a lesser extent, Decrepit Birth.3 There are even moments that echo more subdued moments from recent Sallow Moth releases (“The Serpent’s Perpetual Shed”). Staccato bursts of guitar, pinch harmonics, and buttery, fretless bass glissandos epitomize what Barn offers, and they spread it thick and chunky all over Crucibles’ sixty-five-minute runtime. Rustic name notwithstanding, Barn’s latest sounds like a sci-fi adventure, supported by track names like “Black Hole Lens” and “Cymatics.” The fretless bass especially helps with the futuristic aesthetic, frictionlessly gliding through gusts of abrupt, otherworldly guitars that buffet tracks from all angles. Barn rarely offers reprieve during their unconventional onslaught, but tracks like “Forbidden Fruits,” “Cymatics,” and “The Defeater” achieve such heights that I don’t find myself needing one. In short, these Boise boys warp listeners to a different dimension on Crucibles, and though it runs a tad long, I haven’t been deterred yet from lighting up this Barnburner.

Dionysiaque // La Tourbe des Rêves [March 27th, 2026 – I, Voidhanger Records]

Dionysiaque dispenses a bizarre derivative of doom on La Tourbe des Rêves that’s sure to be equal parts captivating and divisive. Reaching into the bag of tricks defined by Cathedral, Black Sabbath, and Candlemass, Dionysiaque’s sophomore album lumbers and chugs with classic rock-inspired leads and firecracker songcraft that I find utterly enthralling. Songs like “Aaron,” “Hate Fruit,” and “The Two Headed Boy” spotlight Dionysiaque’s plaintive guitar wails, contributed by L.B. and Bruno Penserini, along with their savvy balance of somber atmospheres and rousing melodies. Buoying the guitar tandem, bassist Lethal lays down frolicking, fabulous thunder via absorbing countermelodies while drummer T.H. looses potent fills and rolls throughout. Soaring atop the instrumentation are N.C.’s unorthodox vocals, which will almost certainly be the sole determining factor in listeners’ ability to engage with La Tourbe des Rêves. His delivery recalls that of Mayhem’s Attila Csihar at his most operatically deranged, never lacking conviction yet occasionally overpowering and ostentatious. Still, I appreciate and enjoy the commitment to the unhinged performance, and although dialing it back a little would make Dionysiaque’s latest more accessible, I’ve come to love La Tourbe des Rêves without apology. So don’t be afraid to let a little love into your heart—go get debauched with Dionysiaque’s aphrodisiac.

Creeping Ivy’s Pandemonic Pleasure

Mammon’s Throne // My Body to the Worms [March 13th, 2026 – Hammerheart Records]

In advising his fellow fallen angels—recently expelled from Heaven—to turn Hell into a competing kingdom, Mammon projects that All Demons will ‘work ease out of pain / Through labor and endurance.’4 Satan doesn’t heed this advice, but the third LP from Mammon’s Throne arguably does. On My Body to the Worms, this Australian five-piece inflicts pleasurable pain upon metaldom via five filthy slabs of sludgy death-doom (plus two instrumental reprieves). Mammon’s Throne conjure Hooded Menace, Temple of Void, and (old) Worm in their proclivity for plodding tempos, swampy riffs, and gravely howls (“Elixir”). The album is also a labor of love for classic (death-) doom à la Paradise Lost and My Dying Bride, mixing gothy croons, ascendant melodicism, and haunting piano into the band’s sinister stew (“Every Day More Sickened,” “At the Threshold of Eternity”). Though the listener does need some endurance, as three of the five non-instrumentals hover in the 8–9 minute range, the record flows fluidly across an easy 42 minutes. If you ever wondered what metal in league with Mammon might sound like, give My Body to the Worms a spin.

Weeping Sores – The Convalescence Agonies [Things You Might Have Missed 2025]

By Creeping Ivy

Pleasure—as Judas Priest, sadomasochists, and Flagellants teach us—can be found in pain. Doug Moore and Stephen Schwegler, the guitar/drum duo behind Weeping Sores, also teach this lesson with The Convalescence Agonies. As its title suggests, the sophomore Weeping Sores album chronicles Moore’s recovery from a shoulder injury that, quite unfortunately, prevented him from playing guitar.1 Quite fortunately for us, Moore sublimates his agony into the listener’s ecstasy with The Convalescence Agonies. Debut False Confession received high praise here, making the 2019 lists of Saunders (Honorable Mention), Cherd of Doom (#8), and Ferrous Beuller (#4). On its follow-up, Weeping Sores deliver a leaner, lusher, and eminently listable slab of death-doom.

On The Convalescence Agonies, Weeping Sores level up by scaling back. False Confession established that Moore and Schwegler of Pyrrhon fame could successfully craft a more plodding, brooding death metal, sounding like Morbid Angel making proclamations to My Dying Bride. At 56 minutes with multiple 9- and 10-minute songs, however, the album definitely fatigues. In comparison, The Convalescence Agonies clocks in at 43 minutes, energizing the listener by lurking towards its epic compositions. Moore’s climbing guitar and anguished screams in “Arctic Summer” segue into “Empty Vessel Hymn,” a heater showcasing Schwegler’s jazzy hands. The mid-album climax, “Sprawl in the City of Sorrow,” spreads chunky, blasty, and militaristic riffs across 9 breezy minutes. “Pleading for the Scythe” mixes delicate chords, lumbering beatdowns, and off-kilter shredding, setting the stage for the title track. “The Convalescence Agonies,” a 14-minute monster, boasts the stankiest, dumpiest chuggery on the entire album. Without compromising the scope of its songwriting, Weeping Sores have crafted a tighter, better-paced album than the debut.

False Confession stans might weep when learning that the violin of Gina Hendrika Eygenhuysen does not appear on The Convalescence Agonies. In its place is the cello of Annie Blythe, which directs a broader ensemble of ancillary instrumentation. Like Eygenhuysen’s violin, Blythe’s cello often occupies center stage, dramatizing sparse verses (“Arctic Summer”) and blasty tremolos (“The Convalescence Agonies”). Arguably, the deeper tone of the cello better suits the music, feeling like an extension of the scooped guitar tone. Weeping Sores also incorporate keyboards from Brendon Randall-Myers (Scarcity), which add a refined, almost proggy aura to caveman breakdowns and hyperspeed chugging (“Pleading for the Scythe”). There’s even banjo in “Sprawl…,” commingling with Blythe’s percussive cello to make a demented guitar lead far more unsettling.2 Some listeners will miss the brighter, more melodically commanding presence of the violin. The Convalescence Agonies more than makes up for Eygenhuysen’s absence, however, with its wider array of sonic textures.

As Moore howls on the title track, the body’s pain ‘teaches nothing…no gift / But the passion of transfiguration.’3 Pain may not teach anything to the suffering speaker or Moore himself, but The Convalescence Agonies teaches us that Weepings Sores is one of the most promising contemporary death-doom projects. Moore and Schwegler have transfigured False Confession into something more beautiful without sacrificing their disgustingly awesome death metal core. Sadly, this TYMHM treatment may not arrive in time to register during Listurnalia. Consider, then, The Convalescence Agonies an honorary Honorable Mention for me (and several others around here, I suspect).

Tracks to Check Out: “Arctic Summer,” “Sprawl in the City of Sorrow,” “The Convalescence Agonies”

#2025 #DeathDoom #DeathMetal #DoomMetal #IVoidhangerRecords #MorbidAngel #MyDyingBride #Pyrrhon #Scarcity #TheConvalescenceAgonies #ThingsYouMightHaveMissed2025 #TYMHM #USMetal #WeepingSores