#epicmetal — Public Fediverse posts

Lunar Shadow - The Pall of a past World

I really like the opener, however the whole album is a truly immersive journey. Epic metal with a touch of Maiden and Trouble. Melancholic and playful. Great record!

A really valuable contribution to the current wave of more traditional Heavy Metal. The music is subtle with only occasional really heavy or fast parts. But it never feels "too little".

https://lunarshadow.bandcamp.com/album/the-pall-of-a-past-world

#music #reviews #heavymetal #epicmetal #vinyl @metal

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Eternal Dagger
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/eternal-dagger

Iron Kobra – Dungeon Masters
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/dungeon-masters

Iron Kobra – Dungeon Masters
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/dungeon-masters

Iron Kobra – Dungeon Masters
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/dungeon-masters

Iron Kobra – Dungeon Masters
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/dungeon-masters

Iron Kobra – Dungeon Masters
#EpicMetal #HardRock #HeavyMetal #Metal #SpeedMetal #german #Gelsenkirchen
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://ironkobra.bandcamp.com/album/dungeon-masters

Victorius – World War Dinosaur Review

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Apr26 #Entertainment #EpicMetal #Galneryus #GermanMetal #HeavyMetal #PerceptionRecords #PowerMetal #ReigningPhoenixMusic #review #reviews #Victorius #WorldWarDinosaur
https://www.newsbeep.com/us/597579/

Victorius – World War Dinosaur Review

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #Apr26 #Entertainment #EpicMetal #Galneryus #GermanMetal #HeavyMetal #PerceptionRecords #PowerMetal #ReigningPhoenixMusic #review #reviews #Victorius #WorldWarDinosaur
https://www.newsbeep.com/us/597579/

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

Look at that cover. It looks like the sort of neon-drenched fever dream burst straight from the mind of an unmedicated, hyperactive toddler whose special interests are cyborg dinosaurs and laser-wielding ninjas that promises the sort of maximalist, power cheese pungent enough to stink up any room. Luckily for us, German fromagers Victorius have been honing their brand of hook-forward, Saturday-morning-cartoon power metal for years. Their 7th album, World War Dinosaur, is a continuation of the band’s deeply unserious “space ninjas vs. holy dinosaurs” storyline showcased on records like Dinosaur Warfare – Legend of the Power Saurus, Space Ninjas From Hell,and Dinosaur Warfare Pt. 2 – The Great Ninja War. I’m all for ridiculous imagery and album concepts, as long as they don’t overshadow the compositions themselves. Can Victorius manage to avoid being crushed under the weight of their own cheese?

On World War Dinosaur, Victorius demonstrates a seasoned knack for crafting straightforward, yet satisfying, dinosaur-themed power metal bangers. The band’s execution of their over-the-top subject matter is less garish than one might expect, eschewing lengthy spoken-word sections or lore-heavy character backstories in favor of poppy power metal with dinosaur-specific hooks. Tracks are fast-paced and built around the tried-and-true power formula of hyper-melodic guitar/synth hooks over galloping drums, with huge, festival-ready singalong choruses, and Victorius are masters at transitioning seamlessly between the expected sections. It’s easy to get lost in the Galneryus-esque haze of dino rippers on songs like “Raptor Squad Attack,” “Brachio Bazooka Battalion,” and “Dino Power Resistance,” which fully lean into their concept. There’s a simple joyousness to be had in listening to well-executed, catchy power metal, and it’s only made more fun by the blatantly absurd subject matter.

Luckily, Victorius aren’t just coasting on a dumb (read: brilliant) gimmick; they actually play like a band that’s been around the block. Vocalist David Bassin, who’s sounded a bit weightless in the past, finally shows up swinging. Here, he sounds confident and inspired, helped by stacked vocal harmonies and gang shouts, which appropriately heighten big moments. Bassin’s soaring tenor absolutely shines while belting out ludicrous lines on ridiculous choruses (“World War Dinosaur,” “Dino Race From Outer Space), leading the charge and treating the “dino vs. ninja” subject matter as if his life depended on it. Beyond the choruses, it’s the truly infectious non-vocal melodic lines that stand out on repeated listens. Guitarists Dirk Scharsich and Flo serve up sharp, memorable leads that weave throughout the songs, with the opening fanfare of “Kingdom of the Strong” and “Lost Legacy” serving as highlights. Throw in the usual bombastic orchestration and gloriously tacky synth work, and suddenly these compositions coalesce into something that’s still sugary and familiar, but hit just a bit harder than your typical middling power metal.

I only wish World War Dinosaur saw Victorius take more musical and conceptual risks. Every song is in the 3-4 minute range, and nearly all of them follow the tried and true power metal formula. There are some mid-tempo cuts like “Evil Mean Megalodon” about a cybernetic shark/submarine of all things, but most tracks feel incredibly similar. This extends to the concept as well, which seems to exist primarily as dinosaur-covered wrapping paper over some standard power metal lyrics about war and battles. There seems to be very little about the actual dinosaur-ninja war as promised, with no narrative progression present, just several songs about dinosaur war units (“Raptor Squad Attack,” “Brachio Bazooka Battalion,” “Prehistoric Panzer Power”), one song about laser ninjas (“Lazer Ninja Thunderstorm”) and a vague conclusion about “fighting forever” (“Lost Legacy”). None of this really detracts from the fun, chorus-focused power metal on display, but it does feel like a minor missed opportunity to elevate the record beyond the sum of its parts.

Nonetheless, World War Dinosaur is a well-crafted, entertaining and incredibly campy slab of power metal. Victorius aren’t charting particularly novel territory, but they’re clearly familiar with the elements that make this style so enjoyable and the over-the-top concept helps to make the whole package more exciting. For those in search of some accessible power cheese to brighten their day, look no further.



Rating: Good!
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Perception Records
Websites: victoriusmetal.net | facebook.com/victoriusmetal
Releases Worldwide: April 17th, 2026

IRON KOBRA 2026 – The Eternal Dagger Era

Ela – Six String Slaying & Haunting Screams from Sto'Vo'Kor
Björn – Thundering Drums of Doom
Steffen – Guitar Carnage on the Altar of Harmony
Matze – Four Strings of Apocalypse

📸 Kai Ski of The Serpent Sun Tattoo
#HeavyMetal #SpeedMetal #EpicMetal #IronKobra #EternalDagger

TREMBLING DUNGEONS

We're proud to introduce the first single TREMBLING DUNGEONS off of our upcoming album ETERNAL DAGGER in conspiracy with Dying Victims Productions and presented by DEAF FOREVER!

ETERNAL DAGGER will be out June 19th and is up for pre-order at Dying Victims Productions now! #HeavyMetal #SpeedMetal #EpicMetal
https://youtu.be/modFaAVuKiQ?si=Q6L6Md5Y8mK6SLt3

The new Void of Light album proves how epic #PostMetal can be.

Truly incredible stuff.

https://ripcordrecords.bandcamp.com/album/asymmetries

#VoidofLight #EpicMetal #HwavyMetal #DoomMetal

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

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

Kenstrosity’s Freaky Foursome

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

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

Forefathers’ Eve (Redemption) by Upiór

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

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

Erde 666 by KadavriK

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

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

Like Crushed Violets and Linen by Luminesce

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

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

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

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

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

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

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

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

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

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

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

In Unreality’s Coffin by Ectovoid

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

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

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

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

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

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

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

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

Neverealm by Valiant Sentinel

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

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

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

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

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

Abyss Call To Abyss by Skulld

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

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

Mountains Of Madness by Total Annihilation

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

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

Drifting Through Voids by Polaris Experience

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

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

Kenstrosity’s Freaky Foursome

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

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

Forefathers’ Eve (Redemption) by Upiór

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

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

Erde 666 by KadavriK

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

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

Like Crushed Violets and Linen by Luminesce

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

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

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

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

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

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

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

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

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

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

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

In Unreality’s Coffin by Ectovoid

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

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

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

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

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

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

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

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

Neverealm by Valiant Sentinel

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

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

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

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

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

Abyss Call To Abyss by Skulld

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

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

Mountains Of Madness by Total Annihilation

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

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

Drifting Through Voids by Polaris Experience

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

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

Kenstrosity’s Freaky Foursome

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

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

Forefathers’ Eve (Redemption) by Upiór

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

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

Erde 666 by KadavriK

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

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

Like Crushed Violets and Linen by Luminesce

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

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

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

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

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

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

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

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

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

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

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

In Unreality’s Coffin by Ectovoid

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

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

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

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

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

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

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

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

Neverealm by Valiant Sentinel

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

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

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

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

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

Abyss Call To Abyss by Skulld

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

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

Mountains Of Madness by Total Annihilation

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

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

Drifting Through Voids by Polaris Experience

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

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

Kenstrosity’s Freaky Foursome

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

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

Forefathers’ Eve (Redemption) by Upiór

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

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

Erde 666 by KadavriK

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

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

Like Crushed Violets and Linen by Luminesce

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

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

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

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

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

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

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

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

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

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

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

In Unreality’s Coffin by Ectovoid

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

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

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

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

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

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

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

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

Neverealm by Valiant Sentinel

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

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

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

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

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

Abyss Call To Abyss by Skulld

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

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

Mountains Of Madness by Total Annihilation

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

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

Drifting Through Voids by Polaris Experience

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

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

Kenstrosity’s Freaky Foursome

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

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

Forefathers’ Eve (Redemption) by Upiór

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

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

Erde 666 by KadavriK

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

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

Like Crushed Violets and Linen by Luminesce

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

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

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

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

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

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

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

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

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

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

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

In Unreality’s Coffin by Ectovoid

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

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

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

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

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

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

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

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

Neverealm by Valiant Sentinel

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

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

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

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

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

Abyss Call To Abyss by Skulld

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

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

Mountains Of Madness by Total Annihilation

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

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

Drifting Through Voids by Polaris Experience

Listening to 'Piercing The Heart Of The World', the new masterpiece from Greek band TRIUMPHER. Already our #AlbumOfTheYear! 🇬🇷 #metal #epicmetal #music #nowplaying
https://album.link/i/1872209099

Picture it. Asheville, North Carolina, 2024. A devastating hurricane had just ripped through my region, wiping out entire sections of our richest cultural centers and critical economic staples, not to mention forever impacting the lives and homes of hundreds of thousands of residents (myself included). But, as the absorbent and resilient sponge I know myself to be—and with the help of hordes of kind and loving friends and family—I persisted. Not even a full month after disaster struck, I resumed my writership by covering Greek heavy metal quintet Triumpher’s sophomore epic Spirit Invictus. An eternity spans between then and now, but like myself, Triumpher persists, Piercing the Heart of the World in 2026.

Those who heed Triumpher’s call as I do will be happy to know that the MegatonManowarsword righteousness these Greeks wield like Olympians remains as stalwart as ever. In fact, Piercing the Heart of the World marks the high-water mark of the Triumpher troupe’s songwriting skill and performative prowess. Mars Triumph puts down a vocal showcase of a singular passion, his wild and animalistic delivery reminiscent of Riot City’s early work. That invigorating spirit finds loyal and unflinching support from stellar guitar leads, galloping riffs, and scorching tremolo waves courtesy of guitarists Christopher Tsakiropoulos and Mario Ñ Peters. Meanwhile, Stelios Zoumis rumbles like a thunderous storm, throwing hefty bass bolts through every measure to anchor every one of Piercing’s 45 minutes in righteous metal. Driving the march toward inevitable WICTORY, Agis Tzoukopoulos tumbles, pounds, and stomps his way through every technique known to metalkind in the pursuit of maximum awesomeness, and finds it with alarming regularity here.

Piercing The Heart Of The World by TRIUMPHER

Piercing the Heart of the World proves that Triumpher achieved the next stage of evolution in their still-young career. With the massive one-two punch of “Black Blood” and “Destroyer,” Piercing launches with a ferocity that would intimidate the finest specimen of any apex predator family. The former song recalls the vampiric darkness that inked Storming the Walls, which is a welcome introduction, but fails in the most exhilarating way to prepare me for the sword-raising spirit of the latter. That, in turn, fails to prepare me for the epic beauty that is “The Mountain Throne.” The first of two Song o’ the Year contenders, this sub-seven-minute odyssey traverses a calming plucking melody to dive right into blackened speed and a thrashy gallop, all while Mars croons and wails atop a storm of double bass runs and blasts. Yet, the whole is smoother than chrome and sharper than scalpels, resulting in an utterly astounding listening experience. However, even it feels understated when faced with the late-album highlight “Erinyes.” Punky and thrashy in a way I never thought traditional heavy metal could be, but still possessed of that chest-thumping, fist-pumping flame that lights hearts and souls ablaze, “Erinyes” is an unqualified success of excess, exuberance, and excitement.

In the past, Triumpher’s greatest weakness was always that the highlights far outstripped the supporting cast. Not so with Piercing. Even the slow and metered “Ithaca (Return of the Eternal King),” ballad interlude “Vault of the Immortals,” and two-act closer “Naus Apidalia” find ways to make memories and stand with distinction in Triumpher’s catalog. In all cases, those memories are founded in storytelling, either by establishing new characters (as is the case with “Ithaca”), shifting the tone (“Vault”), or by resolving arcs and tying up loose ends (“Naus Apidalia”). This strategy, in turn, makes more traditional heavy metal crowd pleasers like “The Flaming Sword”—which boasts a sleeper chorus that will get stuck in your head—feel more impactful than they might’ve otherwise.

With this in mind, I found very little to complain about. If it weren’t for his sheer charisma, I would say that Mars’ vocal performance teases the “Too Much” button far more often than I prefer. Were it not for the presence of endless barnstormer solos and affecting melodies, I would bemoan the protracted runtime of the closer. The meaty bass presence foils my bubbling rant against the more aggressive compression and increased loudness of this master. The caveats persist, leaving behind a wake of hobbled criticisms that would conspire to chip away at Triumpher’s final score. The damage they perpetrated amounts to mere flesh wounds in the end. Put simply, Piercing the Heart of the World is Triumpher’s greatest triumph yet, and you’d do well to hear it!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: No Remorse Records
Websites: triumpher.bandcamp.com | facebook.com/Triumpher.official
Releases Worldwide: March 6th, 2026

Steel Druhm

I was unaware of Greek mega-trve metal warriors Triumpher until Kenstrosity tackled their Storming the Walls debut back in 2023. I was immediately intrigued by the Manowar-meets-Megaton Sword-meets-Primordial sound they brought to the battlefield, and though there were some trials, tribulations, and rough spots to their presentation, the core of something bigger was there. Things improved on 2024s Spirit Invictus, as the Triumpher sound became more potent and consistently enthralling, and they seemed poised to usurp the throne of trve metal through sheer might and mayhem. Fast-forward to 2026, and their third crusade is set to kick off with Piercing the Heart of the World. I came into this hoping and expecting to be shocked and awed by sword, shield, and steroidal masculinity. Could Triumpher be the Manowar for this new age? That’s a mighty big loincloth to fill, but hope hung thickly in the air.

My anticipation of excessive glory overload was slaked by ginormous opener “Black Blood,” and woe to those who don’t bend the knee. It’s a volatile mash-up of Manowar, Primordial, and Doomsword, with a structure that starts out larger-than-life and tries to stack vainglorious and titanic moments upon one another like a grand memorial to the Elder Gods. Vocalist Mars Triumph channels Manowar’s legendary Eric Adams while also referencing Primordial’s A.A. Nemtheanga. This makes the song a total barn burner and exactly what I was hoping for. They follow this up with the uber-beefy, badass “Destroyer,” which reeks of Manowar’s The Triumph of Steel era. Grandiose choral segments and black metal influences elbow their way in, but this is a trve metal chariot ride through the Nine Worlds. Keeping the sword between the ribs, “The Mountain Throne” finds Triumpher pushing every lever to MAX GLORY as the false and weak flee for the safety of their fortifications. This one brings a lot of the same energy as the recent Fer De Lance, and there are touches of Lost Horizon, too. Mars stretches his vocals to the very edge of madness, and the chorus is as mighty as a barrel full of Wotans. Those who make it through this will be gifted a lifetime supply of wisdom, power, and back hair.

What could stop such a mighty and righteous host after such a rousing start? A soft and flabby middle, that’s what. “Ithaca (Return of the Eternal King)” is a slow-burning epical ballad that keeps building toward a massive release of rage and wiolence, but the release never arrives, and you’re kept on the edge of something for nearly 7 minutes with no somethings in sight. This results in the condition known as Blue Baldur. “Ithaca” is immediately followed by the 2-minute interlude “Vaults of Immortals,” which is equally restrained and subdued, making for 9 minutes stuck in emo-fied low-gear. This blunts the album’s momentum, taking you out of battle rage and into resource management. Steel cares not for resource herding when they are enemies left to be smottened! While things pick up with “The Flaming Sword,” and especially the trve-meets-semi-black-thrash of “Erinyes,” it feels like the album never fully regains its war footing, and 9-minute plus closer “Naus Apidalia” is merely good, not great, and suffers from some very Virgin Steele-esque compositional sinkholes and ego bloat. At a reasonable 44:44, Piercing the Heart of the World feels much longer than that, and though the first 16 or so minutes are massive, the rest of the album can’t sustain the prolonged siege.

I’m impressed with Mars Triumph’s performance. He’s gotten more proficient from album to album, and he has a crazy broad range. Anyone who can approximate Eric Adams is talented, and his black and death vocals are good as well. That said, he can and does overdo things at times, pushing his tonsils beyond human control. I can’t even suggest he dial things back, since that is not what Triumpher is all about. You just take the good with the weird and ride on. The guitar work from Christopher Tsakiropoulos and Mario Ñ Peters brings the thunder to the tundra, borrowing from a raft of trve and heavy influences while injecting enough blackened edges to make things extra deadly and dangerous. As the riffs roar and soar, Agis Tzoukopoulos delivers Scott Columbus-approved war drumming that embiggens the sword and spirit. This is a talented horde, and it’s the songwriting missteps that ultimately derail their relentless advance.

Triumpher have all the tools to forge a world-beating heavy metal monsterpiece, but Piercing the Heart of the World fails to penetrate my armor and score a critical hit. I heartily enjoy the opening trilogy, and there’s solid stuff later on, but this isn’t an album that captivates me from start to finish, despite my fervent wishes that it did. Piercing loses some of the ground won by Spirit Invictus, but I haven’t lost heart. The warrior spirit will endure and rise again if Crom wills it. Onward to great deeds!

Rating: 3.0/5.0

Today's music:

VALHALORE - Within the Fire

https://youtu.be/6xnEAXKZUXM

#metal #FolkMetal #EpicMetal #australia #music #np #NowPlaying #MastoMusic

German Rock Hard Festival un-invited US Epic Metal legends Warlord because their drummer posted unhinged pro-Trump alt-right crap. What a great and bold move from the festival!
But of course, there is backlash, and oh boy dozens of US musicians took the side of the band. Crazy how such an incident uncovers the underlying rightwing and conservative mindset of the Epic Metal scene. Needs some deeper analysis. #EpicMetal #metal #RockHardFestival #rhf2026 #warlord

Best Combo at the moment:

Playing #brogue and listening to #dungeonsynth or #epicmetal .

#valheim is fun, but it's definitly for Multiplayer and i'm Not the Person for Multiplayer.

#gaming

Something epic for the last hour

Visigoth - Conquerors Oath

https://visigothofficial.bandcamp.com/album/conquerors-oath

Have a nice evening

#MittwochMetalMix #metal #epicmetal

Exxûl - Sealed Into None

#epicdoommetal #epicmetal #doommetal #heavymetal of excellent quality. Really really good stuff.

https://productionstso.bandcamp.com/album/sealed-into-none

Two new songs released from the upcoming new album by Eternal Winter. Continuing on with their "swords and sorcery" themed epic metal we get to hear the tale about young Othamere, a pagan initiate.

For fans of Virgin steele, sword and sorcery and epic heavy metal in general!

Album "Cosmic Blood, Cosmic Grail" released on February 2nd.

https://eternalwinter.bandcamp.com/album/cosmic-blood-cosmic-grail

#eternalwinter #epicmetal #heavymetal #metalclub

#EpicMetal mit feministischer Perspektive und ein irisches Rauhbein. Der Abend im Keiler war mal wieder sehr besonders. Und die Musik war ja auch noch gut.

https://www.gig-blog.net/2025/12/20/smoulder-dread-sovereign-17-12-2025-schwarzer-keiler-stuttgart/

#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #Metal #Smoulder #DreadSovereign #GrendelsSyster #Stuttgart #SchwarzerKeiler

Steel Arctus – Dreamruler Review

By Andy-War-Hall

Brothers, you need power metal in your life. No, you do. You need authentic positivity shot straight into your cynic-rotten hearts, now. Most fortunate for you, Greek power metallers Steel Arctus have graced this year of 2025 with their third album Dreamruler, marking the third entry into the chronicles of their titular hero Steel Arctus. 2020’s Fire and Blood detailed the origins of Steel Arctus and his girlfriend Red Sonja the Arcadian Lady, 2022’s Master of War saw him delve into the fires of Hades and now Dreamruler sees him challenge the titular Dreamruler in his evil world of dreams to rescue his bodacious muse. Though the first two albums were good, Steel Arctus only grazed greatness a few times in their young career. Is Dreamruler the one that’ll bring them there? Hold your hammers high.

Steel Arctus are sworn to the flame of metal glory, and Dreamruler carries that fire by way of anthemic power metal. Dreamruler is imbued with the fantasy-minded songwriting of Dio, the epic vocal acrobatics of Lost Horizon and the fist-balling machismo of Judas Priest and Visigoth. “Riding through the Night” sees Steel Arctus fuse Judas Priest grit and Nocturnal Rites hookiness, “Fate of the Beast” marries Stratovarius neoclassical-isms with Paladin riffing and “Will to Power” embodies so much Manowar that I’m surprised Manowar never wrote it. Steel Arctus harness these influences into lean, catchy tunes that—while never feeling totally original, obviously—feel deeply energized and alive. Just hearing the Lost Horizon bloopy synths and grandeur of “Defender of Steel,” the Iced Earth thrash-power of “Cry for Revenge,” and the Savatage class and nastiness of “Dreamruler” evoked that sense of first getting into metal again. Listening to Dreamruler is listening to everything Steel Arctus love distilled into forty-seven minutes of heavy metal bliss.

This mimicry of established styles wouldn’t work so well if Steel Arctus weren’t incredible musicians. Thankfully, guitarist Nash G. churns out quality riffs like it’s nothing, bringing beefy grooves to “Will to Power” and nimble plucking on “Fires of Death”. While extremely technical and wah-heavy (“Fires of Death”), G.’s solos avoid hollowness through a melody-first approach; just hear those twins on “Dreamruler” or how “Wicked Lies” plays with the riff beneath it. Drummer Minas Chatziminas crushes his kicks (“Defender of Steel”) while fitting in cool tom and cymbal work (“Riding through the Night”) and just enough kick variation for some rhythmic interest (“Dreamruler”), while bassist Strutter (Wardrum) lays down thick-toned bass runs throughout Dreamruler and even leads on “Wicked Lies.” But vocalist Tasos Lazaris (Fortress Under Siege, White Wizzard) is the leader of this quest called Dreamruler, as his incredible range (“Legend of the Warrior”,) power (“Cry for Revenge”) and charisma (“Glory of the Hero”) sharpen the hooks of Dreamruler and give Steel Arctus a commanding presence. Put together, and Dreamruler’s an outstandingly fun romp worthy of Steel Arctus’ many influences.

The only blemish on Dreamruler is that the ending isn’t a smash success. The penultimate “Legend of the Warrior” opens in dramatic fashion, replete with swirling synths, plucked clean guitar and spoken narration à la Lost Horizon that really sounds like Steel Arctus are building towards a true epic conclusion akin to “Highlander (The One).” Instead, it and the closing instrumental “Onar (όναρ),”1 move through mid-paced crawls that leave Dreamruler with a minor case of anticlimax. They’re not bad songs— “Legend of the Warrior” features Lazaris’ most dynamic performance and “Onar (όναρ)” sounds genuinely restorative in its pleasantness—but with how much pathos Steel Arctus weave into their music I think Dreamruler would’ve benefited from a bigger, grander finale. Steel Arctus can tell a story: I have no idea what happens in Dreamruler narrative-wise, but when Lazaris commands “Hammer Highyaaa!” on “Defender of Steel,” who needs a plot? I’m right there anyway.

Steel Arctus have leveled up tremendously on Dreamruler, and anyone with even a smidgen of appreciation for power metal should give this a spin. They don’t do anything new or novel whatsoever on Dreamruler, and, yeah, these are the most generic power metal song titles imaginable, but Steel Arctus hammered their way into greatness by sheer force of will anyway—along with amazing performances and adept songcraft, of course. Everything about Dreamruler is wholehearted, from Steel Arctus’ celebration of heavy metal’s past to their overwhelming showmanship. This is music of gigantic melancholy and gigantic mirth and easily one of, if not the year’s best power metal albums.

Rating: Great
DR: 72 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: steelarctus.com | steelarctus.bandcamp | facebook.com/steelarctus
Releases Worldwide: November 28th, 2025

#2025 #40 #dio #dreamruler #epicMetal #fortressUnderSiege #greekMetal #heavyMetal #icedEarth #judasPriest #lostHorizon #manowar #noRemorseRecords #nocturnalRites #nov25 #paladin #powerMetal #review #reviews #savatage #steelArctus #stratovarius #visigoth #wardrum #whiteWizzard

Steel Arctus – Dreamruler Review

By Andy-War-Hall

Brothers, you need power metal in your life. No, you do. You need authentic positivity shot straight into your cynic-rotten hearts, now. Most fortunate for you, Greek power metallers Steel Arctus have graced this year of 2025 with their third album Dreamruler, marking the third entry into the chronicles of their titular hero Steel Arctus. 2020’s Fire and Blood detailed the origins of Steel Arctus and his girlfriend Red Sonja the Arcadian Lady, 2022’s Master of War saw him delve into the fires of Hades and now Dreamruler sees him challenge the titular Dreamruler in his evil world of dreams to rescue his bodacious muse. Though the first two albums were good, Steel Arctus only grazed greatness a few times in their young career. Is Dreamruler the one that’ll bring them there? Hold your hammers high.

Steel Arctus are sworn to the flame of metal glory, and Dreamruler carries that fire by way of anthemic power metal. Dreamruler is imbued with the fantasy-minded songwriting of Dio, the epic vocal acrobatics of Lost Horizon and the fist-balling machismo of Judas Priest and Visigoth. “Riding through the Night” sees Steel Arctus fuse Judas Priest grit and Nocturnal Rites hookiness, “Fate of the Beast” marries Stratovarius neoclassical-isms with Paladin riffing and “Will to Power” embodies so much Manowar that I’m surprised Manowar never wrote it. Steel Arctus harness these influences into lean, catchy tunes that—while never feeling totally original, obviously—feel deeply energized and alive. Just hearing the Lost Horizon bloopy synths and grandeur of “Defender of Steel,” the Iced Earth thrash-power of “Cry for Revenge,” and the Savatage class and nastiness of “Dreamruler” evoked that sense of first getting into metal again. Listening to Dreamruler is listening to everything Steel Arctus love distilled into forty-seven minutes of heavy metal bliss.

This mimicry of established styles wouldn’t work so well if Steel Arctus weren’t incredible musicians. Thankfully, guitarist Nash G. churns out quality riffs like it’s nothing, bringing beefy grooves to “Will to Power” and nimble plucking on “Fires of Death”. While extremely technical and wah-heavy (“Fires of Death”), G.’s solos avoid hollowness through a melody-first approach; just hear those twins on “Dreamruler” or how “Wicked Lies” plays with the riff beneath it. Drummer Minas Chatziminas crushes his kicks (“Defender of Steel”) while fitting in cool tom and cymbal work (“Riding through the Night”) and just enough kick variation for some rhythmic interest (“Dreamruler”), while bassist Strutter (Wardrum) lays down thick-toned bass runs throughout Dreamruler and even leads on “Wicked Lies.” But vocalist Tasos Lazaris (Fortress Under Siege, White Wizzard) is the leader of this quest called Dreamruler, as his incredible range (“Legend of the Warrior”,) power (“Cry for Revenge”) and charisma (“Glory of the Hero”) sharpen the hooks of Dreamruler and give Steel Arctus a commanding presence. Put together, and Dreamruler’s an outstandingly fun romp worthy of Steel Arctus’ many influences.

The only blemish on Dreamruler is that the ending isn’t a smash success. The penultimate “Legend of the Warrior” opens in dramatic fashion, replete with swirling synths, plucked clean guitar and spoken narration à la Lost Horizon that really sounds like Steel Arctus are building towards a true epic conclusion akin to “Highlander (The One).” Instead, it and the closing instrumental “Onar (όναρ),”1 move through mid-paced crawls that leave Dreamruler with a minor case of anticlimax. They’re not bad songs— “Legend of the Warrior” features Lazaris’ most dynamic performance and “Onar (όναρ)” sounds genuinely restorative in its pleasantness—but with how much pathos Steel Arctus weave into their music I think Dreamruler would’ve benefited from a bigger, grander finale. Steel Arctus can tell a story: I have no idea what happens in Dreamruler narrative-wise, but when Lazaris commands “Hammer Highyaaa!” on “Defender of Steel,” who needs a plot? I’m right there anyway.

Steel Arctus have leveled up tremendously on Dreamruler, and anyone with even a smidgen of appreciation for power metal should give this a spin. They don’t do anything new or novel whatsoever on Dreamruler, and, yeah, these are the most generic power metal song titles imaginable, but Steel Arctus hammered their way into greatness by sheer force of will anyway—along with amazing performances and adept songcraft, of course. Everything about Dreamruler is wholehearted, from Steel Arctus’ celebration of heavy metal’s past to their overwhelming showmanship. This is music of gigantic melancholy and gigantic mirth and easily one of, if not the year’s best power metal albums.

Rating: Great
DR: 72 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: steelarctus.com | steelarctus.bandcamp | facebook.com/steelarctus
Releases Worldwide: November 28th, 2025

#2025 #40 #dio #dreamruler #epicMetal #fortressUnderSiege #greekMetal #heavyMetal #icedEarth #judasPriest #lostHorizon #manowar #noRemorseRecords #nocturnalRites #nov25 #paladin #powerMetal #review #reviews #savatage #steelArctus #stratovarius #visigoth #wardrum #whiteWizzard

Steel Arctus – Dreamruler Review

By Andy-War-Hall

Brothers, you need power metal in your life. No, you do. You need authentic positivity shot straight into your cynic-rotten hearts, now. Most fortunate for you, Greek power metallers Steel Arctus have graced this year of 2025 with their third album Dreamruler, marking the third entry into the chronicles of their titular hero Steel Arctus. 2020’s Fire and Blood detailed the origins of Steel Arctus and his girlfriend Red Sonja the Arcadian Lady, 2022’s Master of War saw him delve into the fires of Hades and now Dreamruler sees him challenge the titular Dreamruler in his evil world of dreams to rescue his bodacious muse. Though the first two albums were good, Steel Arctus only grazed greatness a few times in their young career. Is Dreamruler the one that’ll bring them there? Hold your hammers high.

Steel Arctus are sworn to the flame of metal glory, and Dreamruler carries that fire by way of anthemic power metal. Dreamruler is imbued with the fantasy-minded songwriting of Dio, the epic vocal acrobatics of Lost Horizon and the fist-balling machismo of Judas Priest and Visigoth. “Riding through the Night” sees Steel Arctus fuse Judas Priest grit and Nocturnal Rites hookiness, “Fate of the Beast” marries Stratovarius neoclassical-isms with Paladin riffing and “Will to Power” embodies so much Manowar that I’m surprised Manowar never wrote it. Steel Arctus harness these influences into lean, catchy tunes that—while never feeling totally original, obviously—feel deeply energized and alive. Just hearing the Lost Horizon bloopy synths and grandeur of “Defender of Steel,” the Iced Earth thrash-power of “Cry for Revenge,” and the Savatage class and nastiness of “Dreamruler” evoked that sense of first getting into metal again. Listening to Dreamruler is listening to everything Steel Arctus love distilled into forty-seven minutes of heavy metal bliss.

This mimicry of established styles wouldn’t work so well if Steel Arctus weren’t incredible musicians. Thankfully, guitarist Nash G. churns out quality riffs like it’s nothing, bringing beefy grooves to “Will to Power” and nimble plucking on “Fires of Death”. While extremely technical and wah-heavy (“Fires of Death”), G.’s solos avoid hollowness through a melody-first approach; just hear those twins on “Dreamruler” or how “Wicked Lies” plays with the riff beneath it. Drummer Minas Chatziminas crushes his kicks (“Defender of Steel”) while fitting in cool tom and cymbal work (“Riding through the Night”) and just enough kick variation for some rhythmic interest (“Dreamruler”), while bassist Strutter (Wardrum) lays down thick-toned bass runs throughout Dreamruler and even leads on “Wicked Lies.” But vocalist Tasos Lazaris (Fortress Under Siege, White Wizzard) is the leader of this quest called Dreamruler, as his incredible range (“Legend of the Warrior”,) power (“Cry for Revenge”) and charisma (“Glory of the Hero”) sharpen the hooks of Dreamruler and give Steel Arctus a commanding presence. Put together, and Dreamruler’s an outstandingly fun romp worthy of Steel Arctus’ many influences.

The only blemish on Dreamruler is that the ending isn’t a smash success. The penultimate “Legend of the Warrior” opens in dramatic fashion, replete with swirling synths, plucked clean guitar and spoken narration à la Lost Horizon that really sounds like Steel Arctus are building towards a true epic conclusion akin to “Highlander (The One).” Instead, it and the closing instrumental “Onar (όναρ),”1 move through mid-paced crawls that leave Dreamruler with a minor case of anticlimax. They’re not bad songs— “Legend of the Warrior” features Lazaris’ most dynamic performance and “Onar (όναρ)” sounds genuinely restorative in its pleasantness—but with how much pathos Steel Arctus weave into their music I think Dreamruler would’ve benefited from a bigger, grander finale. Steel Arctus can tell a story: I have no idea what happens in Dreamruler narrative-wise, but when Lazaris commands “Hammer Highyaaa!” on “Defender of Steel,” who needs a plot? I’m right there anyway.

Steel Arctus have leveled up tremendously on Dreamruler, and anyone with even a smidgen of appreciation for power metal should give this a spin. They don’t do anything new or novel whatsoever on Dreamruler, and, yeah, these are the most generic power metal song titles imaginable, but Steel Arctus hammered their way into greatness by sheer force of will anyway—along with amazing performances and adept songcraft, of course. Everything about Dreamruler is wholehearted, from Steel Arctus’ celebration of heavy metal’s past to their overwhelming showmanship. This is music of gigantic melancholy and gigantic mirth and easily one of, if not the year’s best power metal albums.

Rating: Great
DR: 72 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: steelarctus.com | steelarctus.bandcamp | facebook.com/steelarctus
Releases Worldwide: November 28th, 2025

#2025 #40 #dio #dreamruler #epicMetal #fortressUnderSiege #greekMetal #heavyMetal #icedEarth #judasPriest #lostHorizon #manowar #noRemorseRecords #nocturnalRites #nov25 #paladin #powerMetal #review #reviews #savatage #steelArctus #stratovarius #visigoth #wardrum #whiteWizzard

Steel Arctus – Dreamruler Review

By Andy-War-Hall

Brothers, you need power metal in your life. No, you do. You need authentic positivity shot straight into your cynic-rotten hearts, now. Most fortunate for you, Greek power metallers Steel Arctus have graced this year of 2025 with their third album Dreamruler, marking the third entry into the chronicles of their titular hero Steel Arctus. 2020’s Fire and Blood detailed the origins of Steel Arctus and his girlfriend Red Sonja the Arcadian Lady, 2022’s Master of War saw him delve into the fires of Hades and now Dreamruler sees him challenge the titular Dreamruler in his evil world of dreams to rescue his bodacious muse. Though the first two albums were good, Steel Arctus only grazed greatness a few times in their young career. Is Dreamruler the one that’ll bring them there? Hold your hammers high.

Steel Arctus are sworn to the flame of metal glory, and Dreamruler carries that fire by way of anthemic power metal. Dreamruler is imbued with the fantasy-minded songwriting of Dio, the epic vocal acrobatics of Lost Horizon and the fist-balling machismo of Judas Priest and Visigoth. “Riding through the Night” sees Steel Arctus fuse Judas Priest grit and Nocturnal Rites hookiness, “Fate of the Beast” marries Stratovarius neoclassical-isms with Paladin riffing and “Will to Power” embodies so much Manowar that I’m surprised Manowar never wrote it. Steel Arctus harness these influences into lean, catchy tunes that—while never feeling totally original, obviously—feel deeply energized and alive. Just hearing the Lost Horizon bloopy synths and grandeur of “Defender of Steel,” the Iced Earth thrash-power of “Cry for Revenge,” and the Savatage class and nastiness of “Dreamruler” evoked that sense of first getting into metal again. Listening to Dreamruler is listening to everything Steel Arctus love distilled into forty-seven minutes of heavy metal bliss.

This mimicry of established styles wouldn’t work so well if Steel Arctus weren’t incredible musicians. Thankfully, guitarist Nash G. churns out quality riffs like it’s nothing, bringing beefy grooves to “Will to Power” and nimble plucking on “Fires of Death”. While extremely technical and wah-heavy (“Fires of Death”), G.’s solos avoid hollowness through a melody-first approach; just hear those twins on “Dreamruler” or how “Wicked Lies” plays with the riff beneath it. Drummer Minas Chatziminas crushes his kicks (“Defender of Steel”) while fitting in cool tom and cymbal work (“Riding through the Night”) and just enough kick variation for some rhythmic interest (“Dreamruler”), while bassist Strutter (Wardrum) lays down thick-toned bass runs throughout Dreamruler and even leads on “Wicked Lies.” But vocalist Tasos Lazaris (Fortress Under Siege, White Wizzard) is the leader of this quest called Dreamruler, as his incredible range (“Legend of the Warrior”,) power (“Cry for Revenge”) and charisma (“Glory of the Hero”) sharpen the hooks of Dreamruler and give Steel Arctus a commanding presence. Put together, and Dreamruler’s an outstandingly fun romp worthy of Steel Arctus’ many influences.

The only blemish on Dreamruler is that the ending isn’t a smash success. The penultimate “Legend of the Warrior” opens in dramatic fashion, replete with swirling synths, plucked clean guitar and spoken narration à la Lost Horizon that really sounds like Steel Arctus are building towards a true epic conclusion akin to “Highlander (The One).” Instead, it and the closing instrumental “Onar (όναρ),”1 move through mid-paced crawls that leave Dreamruler with a minor case of anticlimax. They’re not bad songs— “Legend of the Warrior” features Lazaris’ most dynamic performance and “Onar (όναρ)” sounds genuinely restorative in its pleasantness—but with how much pathos Steel Arctus weave into their music I think Dreamruler would’ve benefited from a bigger, grander finale. Steel Arctus can tell a story: I have no idea what happens in Dreamruler narrative-wise, but when Lazaris commands “Hammer Highyaaa!” on “Defender of Steel,” who needs a plot? I’m right there anyway.

Steel Arctus have leveled up tremendously on Dreamruler, and anyone with even a smidgen of appreciation for power metal should give this a spin. They don’t do anything new or novel whatsoever on Dreamruler, and, yeah, these are the most generic power metal song titles imaginable, but Steel Arctus hammered their way into greatness by sheer force of will anyway—along with amazing performances and adept songcraft, of course. Everything about Dreamruler is wholehearted, from Steel Arctus’ celebration of heavy metal’s past to their overwhelming showmanship. This is music of gigantic melancholy and gigantic mirth and easily one of, if not the year’s best power metal albums.

Rating: Great
DR: 72 | Format Reviewed: 320 kbps mp3
Label: No Remorse Records
Websites: steelarctus.com | steelarctus.bandcamp | facebook.com/steelarctus
Releases Worldwide: November 28th, 2025

#2025 #40 #dio #dreamruler #epicMetal #fortressUnderSiege #greekMetal #heavyMetal #icedEarth #judasPriest #lostHorizon #manowar #noRemorseRecords #nocturnalRites #nov25 #paladin #powerMetal #review #reviews #savatage #steelArctus #stratovarius #visigoth #wardrum #whiteWizzard

It occurred to me that I haven't posted on here about it yet. So here goes:
On August 1st, I released my debut single, Initiate Doctrine, under the artist name Greathawk. This seven-minute piece of symphonic metal tells my story about breaking free from a religion. It begins a conceptual journey of which I hope to release an album in the future. It's not an attack, rather it's the truth from my experience. Like I've said on other mediums, if one person finds that my music resonates with them, that's enough. The single can be listened from the following link:
https://hyperfollow.com/greathawk/initiate-doctrine-single
The next single will be out on September 5. #newmetal #Greathawk #ConceptualMetal #SymphonicMetal #EpicMetal #NewMusic #metal