#germanmetal — Public Fediverse posts

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Hailing from the East Frisian Island of Spiekeroog, German death metallers Temple of Dread have been kicking around since 2017. After 2019 debut LP, Blood Carving Mantras, the illustrious Holdeneye saw fit to review their sophomore effort, World Sacrifice, in 2020. He commended them for their ferocity and adherence to the olde ways, but he would have liked to see a bit more variation in tempo and songcraft. In the intervening six years, Temple of Dread have grown from a three-piece to a fivesome and have released an additional three albums, all of which we seem to have missed. Did they take Holdeneye’s criticisms to heart, or can we expect another nonstop onslaught of old school death metal?

One thing is certain: these guys still spend most of their time extolling the early works of Death and other early scene heavyweights. Jens Finger shouts and bellows vitriol over the proceedings, lending a thrashy flair to Dreadspawn Dominion. “Artisan of Oblivion” and “Dreadspawn Dominion” see axe men Markus Bünnemeyer and Daniel Maurer setting fire to their fretboards with furious tremolos and technical riffcraft. “Born to Rot” boasts a powerful mid-paced chug, while “Blood Pyre” all but incites a circle pit through Jӧrg Uken’s muscular kit work. Uken is also responsible for production, which, while a little crowded, does allow each instrument to be heard easily. This is comes in clutch on closer “Infernal Eternity,” where Andi Bauer’s bass drips with overpowering malice. Truly a case where less is more, Bauer doesn’t perform any noodly Atheistic wankery, but ensures every note is absolutely menacing.

According to the promo material, Temple of Dread began expanding their sonic palette, as well as experimenting with cinematic elements, beginning with 2023’s Beyond Acheron. Dreadspawn Dominion continues that work. The main riff in “Death March” boasts an evil, blackened edge, bringing a gothic feel to its Nile-esque rituality. “Hybrid Horde Eternal” and “Scorched by Cosmic Fire” both employ synths—courtesy of Uken—to weave a dark, cosmic atmosphere. Potentially to Holdeneye’s delight, with the exception of barn burners like “Rites of Blasphemy” and the title track, much of Dreadspawn Dominion oscillates between fast and mid-paced, repeatedly building and releasing tension in what is objectively a more mature and nuanced compositional style. This is largely successful, except on “Hybrid Horde Eternal,” where Finger’s vocal rigidity or consistency is at odds with its doomy midpoint. Although not terribly common, this isn’t the only instance where Finger’s seemingly narrow range hampers or fails to capitalize on an otherwise poignant moment (“Death March,” “Scorched by Cosmic Fire”).

At just over 40 minutes, Dreadspawn Dominion is right in the pocket for ideal engagement. While I wouldn’t accuse Temple of Dread of bloat, there are a few moments where pacing struggles. The album seems to sag a bit in the middle—“Blood Pyre” and “Scorched by Cosmic Fire,” in particular—and struggles to clinch a solid ending. While “Infernal Eternity” sports a sick, slow gallop and its solo and rhythm section complement each other excellently, nearly its entire back half is devoted to an atmospheric and synth-laden outro that, so late in the album, blunts what could have been a strong ending. Along with “Artisan of Oblivion,” the album closer also suffers from a few riffs that last just a couple measures too long and ultimately fall flat.

Death metal is a hard genre to excel in, especially when idolizing its progenitors. Temple of Dread do an admirable job, and their forays into other genres and atmospherics help to separate them from the rest of the cesspool. While not groundbreaking, Dreadspawn Dominion is a solid record, especially for a band pumping out albums almost yearly. Temple of Dread have the beginnings of a truly killer formula here, but a little more refinement and attention to pacing could pay exponential dividends on future efforts.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Testimony Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 7th, 2026

Home to cuckoo clocks, namesake gateaux,1 and Bollenhüte, Germany’s Schwarzwald (Black Forest) has functioned as folklore fodder for centuries. Ever since dropping debut EP Wiege der Finsternis, Finsterforst has mined their homeland for inspiration, and after five albums they’re Still at it. Though only three years removed from 2023’s EP Jenseits, Still is Finsterforst’s first proper album in seven years.2 If this is your Finsterfirst time experiencing the band’s wares, Finsterforst revels in long-form folk compositions that conjure the stateliness and beauty of nature, and on Still these Germaniacs deliver another generous portion of real-deal, certified folk magic. After so much time walking through the woods, does Still forge a better path, or has Finsterforst lost their way?

Fans of Finsterforst’s recent work should be pleased with Still, as the distinctly Deutsch niche they’ve carved out persists with a twist of noble melancholy. To mein ears, Still plays like folk/black metal garnished with Neue Deutsche Härte accents as they merge seismic riffs and sustained synths with atmospheric textures, cinematic orchestrations, and a staggering tonal depth. Early Finsterforst leaned heavily into folksy fun, where jaunty accordion leads and spirited bass punches draw comparisons to Korpiklaani and Turisas. As Finsterforst evolved, song lengths ballooned, and they pushed further into realms of mood and emotional swells. While vestiges of their early sound remain, Finsterforst now hews much closer to the likes of Moonsorrow, although instead of basking in the wintry waters of Scandinavian paganism, this German septet reveres the temperate charms of an enchanted wood.

From its outset, Still conjures the ethereal beauty of nature and merges it with crushing might and overwhelming pathos. Opener “Obduktion” kicks off with an airy lead before dropping the hammer with meticulously crafted riffs and synth accents that remind me of Rammstein and Eisbrecher. Yet Still doesn’t dramatically shift Finsterforst’s songwriting towards Neue Deutsche Härte—this facet has been a part of their sound for years. Rather, Finsterforst adopts a less-is-moar philosophy that makes the parallels stand out more starkly. For instance, “Stille Nacht” begins with a riff that recalls Rammstein’s “Mein Teil,” driving momentum with thick ‘n’ beefy muscle. Both “Knie Nieder” and “Herbstwanderung” expertly blend the heavy with the tender, and “Fels” glistens with acoustic guitar underpinning vocalist Olli Berlin’s mesmerizing vocals. And it’s here that Finsterforst unfetters their most potent weapon. Berlin’s vocals give me goosebumps each playthrough, and his impassioned barks and sonorous cleans proffer varied deliveries throughout Still. Yet more than that, they supply the perfect counterpoint to Finsterforst’s soundscape as the outfit maneuvers between impassioned discharges and reverb-saturated refrains supported by gorgeous choral elements and brassy orchestrations. Still captures Finsterforst at their most subtle and stripped down, where laying their arrangements bare exposes naked splendor.

Despite the extreme runtime of Still, Finsterforst retools their approach to make it more accessible. In his review of Mach Dich Frei, El Cuervo identified the record’s length as cumbersome taken all at once, even if the individual tracks succeeded. On Still, the songs boast more palatable lengths than LPs past, and here only final original track, “Leere” overstays its welcome at twenty-four minutes.3 The two covers at the end, Immortal’s “Beyond the North Waves” and Pink Floyd’s “Another Brick in the Wall, Pt. II” commendably adapt versions of the songs to Finsterforst’s own style, yet push the runtime an extra fourteen minutes that otherwise would have delivered the band’s most succinct album to date. More positively, the production has improved since Mach Dich Frei and Zerfall, and even though the DR score only suggests a modest improvement, Still sounds better than any of the band’s other recent output.

In a month with few highlights, Finsterforst’s Still shines as a welcome bright spot. Dynamic songwriting, masterful command of tension, and inspired performances litter the album. Finsterforst addresses past offenses by adding depth to the mix and demonstrating more economical songwriting song-by-song, even though Still’s overall length perpetuates Finsterforst’s reputation for bloat. Regardless, I often find myself lost in Still’s woods without caring about how long the walk is, as the sights along the way are unequivocally worth the stroll.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: July 31st, 2026

It’s been a long time since Stormhammer dropped 2019’s epic Seven Seals. Having snuck its way into my top ten that year, Seven Seals proved to be one of the band’s best records, and one of the best power metal records of 2019. With a diverse vocal range, Matthias Kupka lent his voice to that record better than the other eighty vocalists mic-ing it for Stormhammer. It helps that the band put together a fluid record for a change, merging the blasty with the powery and the epic with the sappy. So, what have these German cheese grinders been up to for the last seven years? Oh, you know, hiring a new vocalist. Oh, and an entire new lineup around founding bassist Horst Tessmann. So much for dynasties.

Now that we, once again, have to start all over with Stormhammer—learning the ranges of its new vocalist, how the songwriting will adjust to those strengths and limitations, and fuck all else we need to pay attention to—let’s see what apple Horst has plucked from the Power Metal Singing Tree to wail their way through this year’s Wrath of the Hammer. Let’s see… M. Nox? Is this fucking Kamelot? How can I judge the hiring skills of a band that’s been around for over thirty years? More like, how can I Nox, amirite? OK, I’ll stop.

The epic “Beware” comes crashing down on your head with pounding drums, big choirs, and a massive orchestral element that builds and builds as it progresses. Then the title track powers up, delivering a thrashy lick that I haven’t heard from the band before. With burly backing vocals in play, Nox’s voice rises through the Blind Guardian-esque pre-chorus before soaring into the hooky chorus. It’s a strong piece of work, with killer soloing and a massive conclusion. For more of the thrashy bits, skip ahead to “Veil of Fire.” While it’s not their best, its At the Gates-meets-The Haunted Swedethrash is eyebrow-raising. But as with all tracks of this caliber, it always swings back into power metal territories, utilizing the tired intro-verse-prechorus-chorus-verse-prechorus-chorus-someothershit-solos-repeatingchorusthatneverseemstoend.

The best of the bunch are the back-to-back “Light in the Dark” and “Wheels of Eternity.” Both are standard Stormhammer power metal, with Dream Evil vibes in the first and Dragonforce wankery in the latter. “Light in the Dark” is a passionate number that checks all the power metal boxes. It’s also an interesting addition because it was previously released on 2022’s Never Surrender – 30 Years of Power compilation. But now it has an official home. “Wheels of Eternity” is one of the more ambitious tracks, mixing chugtastic verses with movie-soundtrack orchestrations. And the chorus is massive as fook.

The best quality of Wrath of the Hammer is its digestible runtime, making it far shorter than anything else in their repertoire. The other surprising quality is the thrash elements—something they talked a lot about in their promo materials. What doesn’t fare well is the one-dimensional vocal approach. For years, there has always been diversity galore in the throat department. Wrath of the Hammer is about as typical a power metal performance as you can get. Don’t get me wrong, Nox gives a good performance. But it just feels like a step backward compared to Seven Seals. Wrath of the Hammer has good energy and a handful of solid tracks, but it completely ignores the hard work laid before it by its predecessor.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Rock of Angels Records
Websites: stormhammer.de | facebook.com/stormhammerband
Releases Worldwide: July 17th, 2026

Add Autumnblaze to the list of long-standing bands you’ve likely never heard of. Formed in 1996, this German duo found inspiration in early Katatonia, though their vision has changed throughout the years. Glut will be their ninth full-length album,1 and their third with Argonauta Records. In the years before signing with Argonauta, when they were with Prophecy Productions, they added a few tricks to their bag from fellow labelmates, Empyrium, and still view them as an important influence today. Their last two releases reflect the diversity in their approach, from the acoustic and gentle Welkin Shores Burning (2020) to the light gothic rock of Auf Zerfetzten Schwingen (2024). What drew my attention to Autumnblaze was the mentions of The Vision Bleak and Paradise Lost, along with Katatonia, in their promo materials. At 13 songs, is Glut too much of a good thing, or will it have you happily gorging on their vision of sadboi gothic metal?

Glut trends much heavier and more metal than anything they’ve released for Argonauta. While harsh vocals were present very rarely on their 2024 release, here they are a prominent feature. Vocalist Eldron slips back and forth between cleans and growls, which serve as effective foils for the harsh/gentle dynamic on the record. His growls, more raspy than deep-throated, lend a violent darkness, while the melodic tilt of his cleans brings a tender melancholy. The catchy chorus on “Kerkersonne” will have you singing along and seeking to brush up on your German to better understand the words tugging at your heartstrings.2 The guitar tone is also louder and heavier than on prior releases, and Arisjel sets an energetic, brisk pace on the drums that keeps things from growing too dark or saccharine. Autumblaze mix the gothic melodicism of Katatonia and The Vision Bleak with a more blackened, almost shoegaze-y edge on the guitars and vocals to create an impassioned record that is simultaneously joyful, angry, and sad.

Unlike the prog of Katatonia or the more unpredictable nature of Weird Tales, Autumnblaze favor a much more formulaic structure that proves both a boon and a bane. “Licht Aus” sets the general template for most songs, beginning harsh and heavy before Eldron’s cleans soften the tone for a more palatable chorus. This formula is a comfort, as Eldron’s cleans prove a balm to soothe the harshness of his growls—whether intentional or not, there is a sort of harm/heal dynamic to the music. Of course, where the formula proves a comfort, it also grows a touch repetitive. Glut is an incredibly pleasurable listening experience, yet hearing the same formula across 13 tracks becomes tiresome. It also doesn’t help that Autumnblaze write largely standard rock riffs without any melodic leads to help songs stand apart from one another.

When Autumnblaze mixes up their formula, it also comes with mixed results. “Glut” features some arpeggios that are a nice change of pace, while “Mondmann” forgoes the growls in favor of a pleasantly poppy, but still heavy, metal song. In other ways, their nuanced alterations to the formula prove nuisances. There’s an unfortunate focus on spoken word elements, with “Heilung,” “Glut,” and “Geisteskind” all using them in place of the growls. On top of that, instrumentally, the music is weakest during the spoken segments. “Heilung” and “Geisteskind” both opt for low-energy, uninteresting instrumentals during these moments, but they grow more enjoyable when the cleans kick in. “Heilung” in particular wastes a pretty terrific performance from Arjon by splitting half the song with the tedious spoken parts. Despite these issues, Glut’s strengths weigh favorably enough to make it more enjoyable than not.

Glut truly is a pleasant listening experience that effectively touches on a range of impassioned feelings. Autumnblaze have honed in on a successful formula that works for most of Glut’s 42-minute runtime, even if it starts to bow under the weight of its 13 songs. Having revisited their past stuff, I feel that Glut is the best they’ve ever sounded, both from a production and songwriting perspective. While it’s true they may have injected a little more variety in the past, their earlier stuff didn’t really stick as Glut does. So, sure, there are a few issues to work out, but if 30 years later you sound this fresh, that’s a win.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

The year was 2008. The place is Gelsenkirchen, Germany. Four brave souls were about to form Iron Kobra. Yearning for an era with less sheen and more grit, the band honed their craft with early demo Cult of the Snake and EP Battlesword. Their debut full-length, Dungeon Masters, wouldn’t descend upon the masses until 2012. While a little rough, it showed promise and ambition; the band clearly understood the fundamentals of hard rock and classic heavy metal. 2015 would see them return with Might & Magic, a higher-octane affair with tighter musicianship. But for a single here and there, Iron Kobra has remained quiet in the 11 years since. The metal snake returns now in 2026, promising louder, faster, and better.

I’m gonna do this review a little backward, starting with my chief complaint. Eternal Dagger feels more like a playlist than an album. There’s awesome musicianship and band cohesion on display here—the call and response antics of “Trembling Dungeons,” the stair-stepped riffs of “Fliehen,” the band’s perfect punctuation of Ela’s lyrics on “Forbidden Fruits,” Matze’s bass carrying the melody through the end of “Silver Strings and Iron Wings”—but nothing really ties these tracks together. It’s all undeniably the work of Iron Kobra, but the band careens—quite competently, at least—from searing speed metal (“Unchained & Untamed”) to Priestly NWoBHM (“Shibuya Nights”) to epic heavy metal (“Mountains of Madness”), making the album feel a bit unfocused. The great part about a criticism like this is that it has absolutely no bearing on how fucking hard these Germans rip.

From the first moments of “Trembling Dungeons”—a trash can opening, a sick divebomb, and soaring cleans—it’s clear Iron Kobra came here to chew bubblegum and kick ass, and they’re all out of bubblegum.1 Eternal Dagger is a rager written for all those who still blast Saxon on the reg. Whether burning barns (“Forbidden Fruits,” “Treacherous Tyrant”) or stomping out anthemic bangers, Iron Kobra plays with wanton abandon. This riotous and free energy never lets up, largely thanks to drummer Bjӧrn, even when the tempo drops a gear. “Silver Strings and Iron Wings” takes me back to Di’Anno-era Maiden, and “Trembling Dungeons” could’ve been an Angel Witch b-side. “Eternal Dagger” ventures into progressive territory, and although it doesn’t quite stick the landing and ends a little awkwardly, it’s intriguing, and I’d like to see them explore this narrative style more on future releases.

Eternal Dagger is a vast improvement over Iron Kobra’s back catalog, most notably stemming from its superior production. Mixed and mastered by Stefan Castevet, Eternal Dagger feels full and fleshed out. Bjӧrn’s kick drum moves some serious air, and Matze’s bass sounds absolutely incredible. It’s lush, vibrant, and responsible for some of my favorite moments on Eternal Dagger (“Shibuya Nights,” “Silver Strings,” “Unchained & Untamed”). The other major improvement of Eternal Dagger is the band’s synergy. While previous efforts felt like four talented musicians playing together, Eternal Dagger feels far more cohesive. This is best shown in the way lead guitarist Steffen dances beautifully around Ela’s rhythm guitars like variations on a theme. His leads and solos always feel like an extension of the rhythm section, rather than a standalone element (“Trembling Dungeons,” “Forbidden Fruits,” “Treacherous Tyrant”). Licks and fills from every member of Iron Kobra decorate the larger compositions, and as a result, Eternal Dagger feels like the work of a band at the top of their game.

Iron Kobra has got the goods. Front to back, Eternal Dagger is infectious and riotously fun. Whether you wanna howl at the sky while driving a bit too fast down the highway or pump your fist and bang your head in a crowd of sweaty, late-middle-aged men, Iron Kobra will get you there. I do wish Eternal Dagger had a more singular identity, but at the end of the day, I still had a blast working with this album over the past couple weeks. Unless you won’t settle for anything less than earth-shattering and paradigm-shifting masterpieces, Eternal Dagger will give you a sore neck and some involuntary stank face just fine.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: June 19th, 2026

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

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

ClarkKent’s Sci-Fi Soundbites

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

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

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

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

Thus Spoke’s Tectonic Treat

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

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

Grin Reaper’s Kooky Curios

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

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

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

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

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

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

Creeping Ivy’s Pandemonic Pleasure

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

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

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

Antrisch – Expedition III: Renitenzpfad Review

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.5 #Antrisch #AOPRecords #AtmosphericBlackMetal #BlackMetal #Entertainment #ExpeditionIII:Renitenzpfad #GermanMetal #Kanonenfieber #Mar26 #review #reviews #VengefulSpectre
https://www.newsbeep.com/us/546906/

Antrisch – Expedition III: Renitenzpfad Review

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #4.5 #Antrisch #AOPRecords #AtmosphericBlackMetal #BlackMetal #Entertainment #ExpeditionIII:Renitenzpfad #GermanMetal #Kanonenfieber #Mar26 #review #reviews #VengefulSpectre
https://www.newsbeep.com/us/546906/

Antrisch – Expedition III: Renitenzpfad Review

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de…
#NewsBeep #News #Music #2026 #4.5 #Antrisch #AOPRecords #AtmosphericBlackMetal #BlackMetal #Entertainment #ExpeditionIII:Renitenzpfad #GermanMetal #Kanonenfieber #Mar26 #review #Reviews #UK #UnitedKingdom #VengefulSpectre
https://www.newsbeep.com/uk/496866/

https://www.europesays.com/uk/852109/ Antrisch – Expedition III: Renitenzpfad Review #2026 #45 #Antrisch #AOPRecords #AtmosphericBlackMetal #BlackMetal #Entertainment #ExpeditionIII:Renitenzpfad #GermanMetal #Kanonenfieber #Mar26 #music #Review #Reviews #UK #UnitedKingdom #VengefulSpectre

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

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

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

Waldgeflüster – Knochengesänge I and Knochengesänge II Review

By Killjoy

Waldgeflüster has been around for a while. Based in Bavaria, Germany and led by Winterherz, they’ve been weaving nature-themed atmospheric black metal since 2009. Waldgeflüster has passed through the hands of several atmoblack aficionados before me. El Cuervo enjoyed the Panopticon/Waldgeflüster split in 2016 but was less impressed by Ruinen later that year. Doom_et_Al found 2021’s Dahoam to be disappointing and unmemorable. Waldgeflüster used the four years since then to create double albums Knochengesänge I and Knochengesänge II. I is a more traditional atmoblack record, while II is a reconstruction of the same melodies from the standpoint of various non-metal musical genres. An intriguing idea, to be sure. Is Knochengesänge so nice you’ll want to listen to it twice?

That may not be entirely accurate because, despite being born from the same place, Knochengesänge I and II grew into very different beasts. I will sound much more familiar to those who know Waldgeflüster’s prior work. It shares a deep kinship with the folksy trem-picking of Panopticon, not to mention that both groups put out double albums this year. Austin and Bekah Lunn even directly contributed their musical and photographic talents to Knochengesänge. II is a patchwork of different musical styles. It ranges from acoustic folk (“Das Klagelied der Krähen”) to overcast post-rock (“Frankfurt, 19. März,” “The Little King and His Architect”) to semi-upbeat alt-rock (“A Crusade in the Dark”). Both records conclude with different renditions of the traditional Scottish song “The Parting Glass.”

Knochengesänge I sees Waldgeflüster attempting to escape the shadow of similar, more influential atmospheric black metal groups. It’s telling that, despite the band’s longevity, no AMG writer to date has ever tagged Waldgeflüster in another band’s review as a reference point. Indeed, much of I passes uneventfully in a Harakiri for the Sky haze, but I tend to like it best when Waldgeflüster adds their own folksy flavor. The melodies of “Der kleinste König und sein Architekt” are especially crisp, and the song really comes into its own at the end when it transitions to a warm folk section with hearty clean singing and subtle violin strings. Charlie Anderson’s violin appears frequently, adding a great deal of poignancy. “Knochengesang” and “Bamberg, 20. Juni” are other notable examples of Waldgeflüster using strings to elevate their sound.

Since this is a double album, you already know what the primary flaw of Knochengesänge is—bloat. However, the problem runs deeper than mere minute count. Even if each track were halved in length, many would still have an uphill battle maintaining my attention. This is the case with both parts but particularly true of II, most of which seemed to drag on for an eternity. The greatest exception is “Singing of Bones” almost at the very end of II, a pleasant folk number with acoustic guitar and violin working in tandem. Even though II is all over the place stylistically, most of it isn’t so wildly different from I that it couldn’t have conceivably been integrated. I even tried reordering the tracks into each album’s corresponding pairs and found that many covered each other’s weaknesses decently well (again, except for bloat), which supports my suspicion that these two mediocre albums could have been distilled into one really good album.

Knochengesänge began with an interesting double album premise that, sadly, yielded little of note during its 109-minute combined runtime. I and II may be highly symmetrical but they are only mildly codependent. I can’t recommend listening to them back to back and, in fact, II can be safely disregarded by most listeners. Fans of the Panopticon aesthetic should find enough to enjoy in I, but it may fall a bit flat for everyone else, especially given that newcomers like Autrest are offering a much more potent take on this type of atmoblack. A frustrating refusal to self-edit is what holds both records back the most; nearly every track is 8 minutes or longer, and few fully justify their length. I respect Waldgeflüster’s desire to explore new musical avenues and I’ll keep an eye on them in the future, but I don’t expect to return much to Knochengesänge.

Rating: I: 2.5/5.0 | II: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: blackmetalwaldgefluester.bandcamp.com | waldgefluester.com | facebook.com/blackmetalwaldgefluester
Releases Worldwide: November 7th, 2025

#20 #25 #2025 #AOPRecords #AtmosphericBlackMetal #Autrest #FolkMetal #GermanMetal #HarakiriForTheSky #KnochengesängeI #KnochengesängeII #NotMetal #Nov25 #Panopticon #Review #Reviews #Waldgeflüster

Stuck in the Filter: August 2025’s Angry Misses

By Kenstrosity

The heat persists, but now the humidity comes in full force as storm systems wreak havoc upon the coasts. I hide in my cramped closet of an office, lest I be washed out once again by an unsuspecting deluge. However, I still send my minions out into the facility, bound by duty to search for those metallic scraps on which we feast.

Fortuitously, most all of those imps I sent out came back alive, and with wares! BEHOLD!

Kenstrosity’s Galactic Gremlin

Silent Millenia // Celestial Twilight: Beyond the Crimson Veil [August 26th, 2025 – Self-Release]

Have you ever seen such a delightfully cheesy cover? Probably, but it’s been a while for me. I bought Celestial Twilight: Beyond the Crimson Veil, the second raw symphonic black metal opus from Finnish one-man act Silent Millenia, on the strength of the artwork alone. Little did I know that what lay beyond this crimson veil was some of the most fun melodic black metal this side of Moonlight Sorcery. The same low-fi roughness that personifies Old Nick’s work grounds Silent Millenia’s starbound songwriting as it traverses the universe with an energetic punch reminiscent of Emperor or Stormkeep (“Awaken the Celestial Spell,” “Daemonic Mastery”). To help differentiate Silent Millenia’s sound from that of their peers, a gothic atmosphere ensorcells much of this material to great effect, merging eerie Victorian melodies with galactic adventurism in an unlikely pair (“Enthrone the Spectral”). Swirling synths and sparkling twinkles abound as well, creating blissful moments of interest as frosty tremolos and piercing blasts take full advantage of the false sense of security those entrancing clouds of synthetic instrumentation create (“Benighted Path to Darkness Mysterium,” “Reign in Cosmic Majesty”). Simply put, Celestial Twilight is an unexpected gem of a symphonic black metal record, bursting with killer ideas and infinite levels of raw, unabashed fun. You should hear it!

Kronos’ Unexpected Unearthments

Street Sects // Dry Drunk [August 15th, 2025 – Self Release]

Dry Drunk sticks to your inner surfaces, draining down like cigarette tar along paralyzed cilia to pool in your lungs until the cells themselves foment rebellion. Once it’s in you, you feel paranoid, wretched, and alone. So it’s the proper follow-up to Street Sects’ visionary debut, End Position. Like that record, Dry Drunk plumbs the most mundane and unsavory gutters of America for a cast of protagonists that it dwells in or dispatches with a mixture of pity and disgust, with vocalist Leo Ashline narrating their violent crimes and self-hatred in a mixture of croons, shrieks, and snarls that cook the air before the speakers into the scent of booze and rotten teeth. And like that record, Shaun Ringsmuth (Glassing) dresses the sets with a fractal litter of snaps, squeals, crashes, gunshots, and grinding electronics, caked in tar and collapsing just as soon as it is swept into a structure. And like End Position, Dry Drunk is a masterpiece. The impeccable six-song stretch from “Love Makes You Fat” through “Riding the Clock” ties you to the bumper and drags you along some of the duo’s most creative side-roads, through the simmering, straightjacketed sludge of “Baker Act” to the chopped-up, smirking electronica of “Eject Button.” Swerving between addled, unintelligible agony and unforgettable anthems, Dry Drunk, like End Position before it is nothing less than the life of a junkie scraped together, heated on a spoon, and injected into your head. Once you’ve taken a hit, you will never be quite the same.

Thus Spoke’s Frightening Fragments

Defacement // Doomed [August 22nd, 2025 – Self Release]

There’s music for every vibe.1 The one Defacement fits is an exclusively extreme metal flavor of moody that is only appreciable by genre fans, made tangibly more eerie by their persistent idiosyncratic use of dark ambient interludes amidst the viciously distorted blackened death. Audiences—and reviewers—tend to disparage these electronic segments, but I’ve always felt their crackling presence increases the analog horror of it all, and rather than being a breather from the intensity, they prolong the nausea, the sense of emptiness, and the abject fearfulness of head-based trauma. This latter concept grows more metaphorical still on Doomed, where the violence is inside the mind, purpose-erasing, and emotionally-detaching. The ambience might be the most sadly beautiful so far (“Mournful,” and “Clouded” especially), and the transitions into nightmarish heaviness arguably the most fluid. And the metal is undoubtedly the most ambitious, dynamic, and magnificent of Defacement’s career, combining their most gruesome dissonance (“Portrait”) with their most bizarrely exuberant guitar melodies (“Unexplainable,” “Unrecognised”). Solos drip tangibly with (emotional) resonance (“Unexplainable,” “Absent”) and there’s not a breath or a moment of wasted space. Yes, the band’s heavier side can suffer from a nagging sense of homogeneous mass, but it remains transporting. While I can appreciate why others do not appreciate Defacement, this is the first of their outings I can truthfully say mesmerised me on first listen.

ClarkKent’s Heated Hymns

Phantom Fire // Phantom Fire [August 8th, 2025 – Edged Circle Productions]

While I waded through the murky depths of the August promo sump, Steel implored me to take the eponymous third album from Phantom Fire. “The AMG commentariat love blackened heavy metal,” he said. I disregarded his advice at my peril, and while I ended up enjoying what I grabbed, it turns out this would have been solid too. Featuring members from Enslaved, Kraków. Hellbutcher, and Aeternus, Phantom Fire play old school speed metal that harks back to the likes of Motörhead and Iron Maiden’s Killers. Thanks to healthy doses of bass and production values that allow the instruments to shine, each song is infused with energetic grooves. The music sounds fresh, crisp, and clear, from the booming drums to Eld’s “blackened” snarls. Early tracks “Eternal Void” and “All For None” show off the catchy blend of simple guitar riffs and a hoppin’ bass accompanied by energetic kit work. While placing a somewhat lengthy instrumental track in the middle of a record usually slows it down, “Fatal Attraction” turns out to be a highlight. It tells a tragic love story involving a motorcycle with nothing but instruments, an engine revving, and some police sirens. The second half of Phantom Fire gets a bit on the weirder side, turning to some stoner and psychedelia. There’s a push and pull between the stoner and Motörhead speed stuff on songs like “Malphas” and “Submersible Pt. 2,” and this blend actually works pretty well. It turns out that they aren’t phantom after all—these guys are truly fire.

Burning Witches // Inquisition [August 22nd, 2025 – Napalm Records]

With six albums in eight years, Swiss quintet Burning Witches has really been burning rubber. While such prolific output in such a short time frame generally spells trouble, Inquisition is a solid piece of heavy/power metal. Burning Witches dabbles in a mix of speedy power metal and mid-tempo heavy metal, often sounding like ’80s stalwarts Judas Priest and Def Leppard. With Laura Guldemond’s gruff voice, they produce a more weighty, less happy version of power metal than the likes of Fellowship or Frozen Crown. While the songs stick to formulaic structures, tempo shifts from song to song help keep things from growing stale. We see this variety right from the get-go, where “Soul Eater” takes a high-energy approach before moving into the more mellow “Shame.” There’s even a pretty solid ballad, “Release Me,” that grounds the back half of the record. Songs of the sort that Burning Witches write need catchy choruses, and fortunately, they deliver. “High Priestess of the Night” is a particular standout, delivering a knock-out punch in its delivery. It helps that the instrumental parts are well-executed, from crunchy riffs to subdued solos to booming blast beats. Anyone looking for a solid bit of power metal that’s not too heavy on the cheese will find this worth a listen.

Deathhammer // Crimson Dawn [August 29th, 2025 – Hells Headbangers Records]

Celebrating 20 years of blackened speed, Deathhammer drop LP number six with the kind of energy that exhausted parents dread to see in their children at bedtime. This is my first foray with the band, and I am in awe of the relentless level of manic energy they keep throughout Crimson Dawn’s 39 minutes. If science could learn how to harness their energy, we’d have an endless source of renewables. The two-piece out of Norway channels classic Slayer on crack and even has moments reminiscent of Painkiller-era Judas Priest. They play non-stop thrash cranked to 11, with persistent blast beats and some dual guitar parts that leave your head spinning from the rapid-fire directions the riffs fire off in. The heart of the mania is singer Sergeant Salsten. His crazed vocals are amazing—snarling, shouting, and shrieking in a way that took me back to the manic pitch Judge Doom could reach in Who Framed Roger Rabbit? He sings so fast that on the chorus of “Crimson Dawn,” it sounds like he says “Griffindor,” which had me searching confusedly for the Harry Potter tag. This was probably my favorite song, not just because of the Griffindor thing, but because that chorus is so catchy. Either way, it’s tough to pick a standout track because they all grip you by the throat and don’t let go. Crimson Dawn is a ton of fun and a must listen if you like your music fast.

Grin Reaper’s Bountiful Blight

Kallias // Digital Plague [August 14th, 2025 – Self Release]

Machine gun drumming, spacey synths, Morbid Angel-meets-Meshuggah riffing, Turian-esque barking and Voyager-reminiscent vocal melodies…what the fuck is going on here? The only thing more surprising than someone having the moxie to blend all these things together is how well they work in concert. Kallias doesn’t hold back on sophomore album Digital Plague, and the result is a rocket-fueled blast through forty-four minutes of eclectic, addictive prog. The mishmash of styles keeps the album fresh and unpredictable while never dipping its toes in inconsistent waters, and staccato rhythms propel listeners through eight tracks without losing steam. As with any prog metal worth its salt, Kallias brandishes technical prowess, and their cohesion belies the relatively short time they’ve been putting out music.2 The mix is well-suited to spotlight whoever needs it at a given time, whether the bass is purring (“Exogíini Kyriarchía”), the drums are being annihilated (“Pyrrhic Victory”), or a guitar solo nears Pettrucian wankery (“Phenomenal in Theory”). The end result is three-quarters of an hour filled with myriad influences that fuse into a sound all Kallias’s own, and it’s one I’ve returned to several times since discovering (also, credit to MontDoom for his stunning artwork, which helped initially draw my attention). Check it out—you’ll be sick if you avoid this one like the Plague.

Luke’s Kaleidoscopic Kicks

Giant Haze // Cosmic Mother [August 22nd, 2025 – Tonzonen Records]

Whereas many of my colleagues are bracing themselves for cooler conditions and harsh winters to come, in my neck of the woods, things are warming up. While my own wintry August filter proved scarce, there was one particular summery gem to lift moods with burly riffs and fat stoner grooves. Unheralded German act Giant Haze seemingly emerged out of nowhere during a random Bandcamp deep dive. Debut LP Cosmic Mother channels the good old days of ’90s-inspired desert rock, featuring grungy, doomy vibes via a groovy batch of riff-centric, hard-rocking and uplifting jams, evoking the nostalgic spirit of Kyuss, Fu Manchu, Clutch and perhaps even a dash of Danzig. Punching out raucous, groove-soaked hard rockers with skyscraping hooks (“Geographic Gardens Suck,” “King of Tomorrow,” “Panic to Ride”), summery, funk–psych jams (“Sunrise”), and bluesy, punk-infused fireballs (“Crank in Public,” “Shrink Age”) Giant Haze get a lot of things right on this assured debut. The songwriting is deceptively diverse and punchy, bolstered by solid production, tight musicianship, and the swaggering, ever so slightly goofy vocal charms and powerful hooks of frontman Christoph Wollmann. Inevitably, a few rough spots appear, but overall Cosmic Mother showcases oodles of budding potential, an impactful delivery, cheeky sense of humor, and infectious, feel-good songcraft.

Spicie Forrest’s Foraged Fruit

Bask // The Turning [August 22nd, 2025 – Season of Mist]

Last seen in 2019, Bask returns with fourth LP, The Turning, a concept album following The Rider as she and The Traveler traverse the stars. They still peddle the unique blend of stoner rock and Americana Kenstrosity reviewed favorably in 2019, but 2025 sees them looking up for inspiration. The Turning incorporates a distinct cosmic bent (“The Traveler,” “The Turning”) and post-rock structures (“Dig My Heels,” “Unwound”). These augmentations to Bask’s core sound are enhanced by the masterful pedal steel of new official member Jed Willis. Whether floating through the firmament or tilling earthly pastures, Willis creates textures both fresh and intensely nostalgic. The infinite shifting vistas of The Turning’s front half coalesce into singular timeless visions on the back half, supporting its conceptual nature in both content and form. Like a combination of Huntsmen and Somali Yacht Club, Bask weaves riffs and melodies heard across the plains and through the void above with an unguarded authenticity felt in your soul.

Dolphin Whisperer’s Disseminating Discharge

Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell [August 1st, 2025 – Personal Records]

Stinky, sticky, slimy—all adjectives that define the ideal death metal platter. Myk Colby has been trying to chase this perfect balance in a reverb-wonky package with projects like the d-beaten Hot Graves and extra hazy Wharflurch, but vile death metal balance is hard to achieve. However, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell contains a recklessly pinched Demilichian riffage, classic piercing whammy bombs, and spook-minded synth ambience that places Plasmodulated with an odor more pungent than its peers. With an infected ear that festers equally with doom-loaded, Incantation-indebted drags (“Gelatinous Mutation ov Brewed Origin,” “Trapped in the Plasmovoid”) and Voivod-on-jenkem cutaways to foul-throated extravagence (“The Final Fuckening”). An air of intelligent tempo design keeps An Ocean from never feeling trapped in a maze of its own fumes, with Colby’s lush and bubbling synth design seguing tumbles into hammering deathly tremolo runs (“Such Rapid Sphacelation”) and Celtic Frosted riff tumbles (“Drowning in Sputum”) alike, all before swirling about his own tattered, trailing vocal sputters. Steady but slippery, elegant yet effluvial, An Ocean ov Putrid, Stinky, Vile, Disgusting Hell provides the necessary noxious pressure to corrode death metal-loving denizens into pure gloops of stained-denim pit worship. Delivered as labeled, Plasmodulated earns its hazardous declaration. We here at AMG are not liable for any OSHA violations that occur as a result of Plasmodulated consumption on the job, though.

#2025 #Aeternus #AmericanMetal #Americana #AnOceanOvPutridStinkyVileDisgustingHell #Aug25 #Bask #BlackMetal #BlackenedDeathMetal #BurningWitches #CelestialTwilightBeyondTheCrimsonVeil #CelticFrost #Clutch #CosmicMother #CrimsonDawn #Danzig #DarkAmbient #DeathMetal #Deathhammer #DefLeppard #Defacement #Demilich #DigitalPlague #Doomed #DryDrunk #DutchMetal #EdgedCircleProductions #Emperor #Enslaved #Fellship #FinnishMetal #FrozenCrown #FuManchu #GermanMetal #GiantHaze #Glassing #Hardcore #HeavyMetal #Hellbutcher #HellsHeadbangersRecords #HotGraves #Huntsmen #Incantation #Inquisition #IronMaiden #JudasPriest #Kallias #Kraków #Kyuss #MelodicBlackMetal #Meshuggah #MoonlightSorcery #MorbidAngel #Motörhead #NapalmRecords #NorwegianMetal #OldNick #PersonalRecords #PhantomFire #Plasmodulated #PowerMetal #ProgressiveDeathMetal #RawBlackMetal #Review #Reviews #SelfRelease #SilentMillenia #Slayer #Sludge #SludgeMetal #SomaliYachtClub #SpeedMetal #StonerRock #Stormkeep #StreetSects #StuckInTheFilter #StuckInTheFilter2025 #SwissMetal #SymphonicBlackMetal #TechnicalDeathMetal #TheTurning #TonzonenRecords #Turian #Voivod #Voyager #Wharflurch

Ravager – From Us with Hate Review

By Lavender Larcenist

What can one reasonably say that hasn’t already been proclaimed in the halls of AMG over and over again about throwback thrash bands? In a genre that continues to pump out music for over forty years, breaking the mold is like chiseling out of your prison cell with a spoon. Doable? Maybe. But true escape is improbable. Germany’s Ravager peddles in the same stylistic trappings that you have seen a million times before from bands like Havok, Lich King, Warbringer, Gamma Bomb, and so, so many others before them. While many of these throwback acts ended up evolving their sounds and peeling themselves free of the mozzarella mosh of pizza thrash, will Ravager do the same on their fourth LP, From Us with Hate? Or, is it doomed to rest alongside the proverbial pineapple topping, as loathed as it is loved?

How does one even begin to talk about a band like Ravager without reaching for the same old cliches? You have heard all this music before; nothing here will surprise you, especially if you enjoy fast-paced, no-frills thrash with mostly generic lyrics about fighting the system, living hard, and loving metal. During my review, I decided to spin From Us with Hate while playing some rounds of Helldivers 2 (the title of a popular co-op video game for you olde folks). Ravager’s style of no-holds-barred violence, combined with its oddly uplifting lyrical themes, made it a perfect match for the on-screen chaos. But really, this would work for almost any high-octane experience; driving fast, working out, sitting on your ass shooting aliens in a video game, you name it. I couldn’t help but crack a smile as the cheesy yet earnest lyrics of “Alone We Won’t Survive” matched up perfectly with the actions in the game, as I rescued a hapless rookie player from the jaws of death. The best thing I can say is From Us with Hate makes for a decent soundtrack when mowing down alien bugs in a sci-fi fascist hellscape.

Ravager plays to all the thrash tropes. The opening track, “Freaks Out of Control,” starts like many genre staples before it: a slow kick drum lead with a little high hat that rolls into a rollicking riff. In fairness, each band member fills their respective role well, and Marcel Lehr and Dario Rosenberg’s dual guitar assault is a highlight. From Us With Hate is full of tight riffs and ripping speed. “Aggressive Music for Aggressive People,” the title track, and “Legends of the Lightning” are all fun, easy-to-digest thrash staples that get the blood going even if they don’t break the mold. Vocalist Phillip Herbst sounds dangerously close to Lich King’s Tom Martin, and it seems like he might crack at any given time. The vocals sound strained throughout, and rarely change things up outside of a few inspired moments and catchy choruses, such as on “Curse the Living, Hail the Dead” and “Defender.” While Ravager plays with that “barely keeping this thing on the tracks” energy that epitomizes great thrash, it misses elsewhere. It is clear they have more than enough heart, but the songwriting doesn’t quite match it.

Thankfully, the band’s latest is competently played and features tight production (although the bass is occasionally lost in frustrating ways). Album closer “Defender” is stuffed with tight riffing from Lehr and Rosenberg as well as some standout lead work and multiple blistering tag-team solos from the guitar duo. Herbst never breaks the mold, but competently trucks alongside the bouncing groove of the tracks. Vocals remain the weakest element overall, and the album’s closing cover of Exodus’s “Bonded by Blood” highlights this with Herbst’s voice sounding as if it is going to crack at any point in the song, especially in the chorus.

I appreciate a band that knows their whole schtick is a little silly without making themselves the butt of the joke. Every Ravager album cover is adorned with its goofy snake man, as buff as post-crisis Batman, and clad in ripped jeans and sneakers, but the music itself never becomes too silly. From Us With Hate is the record you’ve heard many times before, and tolerance may vary as a result. If you love throwback thrash bands and eat up anything in the genre, Ravager will keep you sated like a familiar piece of pepperoni pizza at your local shop. If, like me, you are over this style of played-out retro worship, From Us with Hate is just empty calories.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Iron Shield Records
Websites: ravager.bandcamp.com | ravager-thrash.de | facebook.com/ravagerthrash
Releases Worldwide: September 19th, 2025

#25 #2025 #GammaBomb #GermanMetal #Havok #IronShieldRecords #LichKing #Ravager #Review #Reviews #romUsWithHateReview #Sep25 #ThrashMetal #Warbringer

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

HERETOIR – Solastalgia Review

By Owlswald

Fall in the Pacific Northwest means two things: foggy air and the official start of sadboi season. And German post-black quintet HERETOIR are here to offer a choice soundtrack for the colder, darker months ahead. Since its inception as a solo project by multi-instrumentalist David Conrad in 2006, HERETOIR has been a mainstay in the blackgaze scene, crafting music that has been a long-standing source of catharsis while operating in the darkness with other well-known acts like Alcest and Fen. Solastalgia marks the trio’s fourth full-length album, but the first one we’ve reviewed here. Still, the group’s presence at AMG Industries isn’t entirely new. On the heels of their 2017 sophomore album The Circle, drummer Nils Groth spoke candidly in an interview with staff emeritus Muppet about how music can be a vital outlet for dealing with mental health. Since then, HERETOIR shifted to a collaborative songwriting process to define the darker and ethereal sound of their third album, Nightsphere. That same collaborative spirit now forms the core of Solastalgia, which explores themes of alienation and grief over the loss of our natural world.

Crafted to be an immersive listen, Solastalgia follows a heavy-light-heavy progression. High-energy tracks like “You are the Night,” “Burial” and “The Ashen Falls” boast the crunchy riffs, trem-picked guitars and rhythmic aggression of The Circle, while “Dreamgatherer,” “The Heart of December” and “Rain” shift toward the softer Alecstian sounds of Nightsphere during Solastalgia’s more contemplative middle. Groth absolutely pummels his kit for over an hour with tight blasts, hard-hitting hardcore rhythms, and eclectic fills that add tons of stylistic flair. Likewise, Conrad delivers a standout vocal performance, adding to the material’s raw, emotional feel with Katatonian sadboi cleans and Novembre-like murmurs contrasting blood-curdling screams and sweeping choral hooks. A high-quality production, with a smothering bass tone and cinematic elements like spoken word (“The Ashen Falls”), piano (“Solastalgia,” “Rain”,) and flute (“Season of Grief”) magnifies the immense emotional weight of HERETOIR’s music, creating a charged, multilayered atmosphere fraught with inner conflict and catharsis.

HERETOIR is adept at building a palpable sense of tension and releasing it through explosive crescendos, weaving a rich sonic tapestry of contrasting dynamics. They masterfully execute this formula across the album’s ten1 tracks with serene, reverb-drenched blackgaze textures juxtaposed by furious blasts, crushing breakdowns and soaring choruses. On “Inertia,” a pensive beginning of ominous piano and cascading tremolos abruptly halts—a pin-drop then detonates, unleashing a devastating maelstrom of thick distortion and ear-piercing screams that propels the track forward. “Season of Grief” is a dynamic journey that gradually builds momentum, shifting from unexpected death metal passages to a quiet, ghostly acoustic bridge before an epic, atmospheric crescendo—driven by Groth’s technical fills—brings the song to an enthralling conclusion. Throughout Solastalgia’s runtime, Conrad’s fluid vocals are key to fusing the album’s wide influences. He seamlessly transitions from soaring, Howard Jones-esque (Killswitch Engage) cleans (“You Are the Night”) to a grief-stricken fry (“Inertia”) and even burly death metal growls (“Season of Grief”), balancing accessibility with profound sorrow and grief.2

With such emotional veracity, an album of Solastalgia’s caliber could easily become too emotionally taxing. But HERETOIR deftly prevents listener burnout by bookending the record with its most expansive compositions. However, while this structure largely succeeds, Solastalgia’s flow is somewhat disrupted by the back-to-back placement of softer tracks like “Dreamgatherer” and “The Heart of December.” Although these tracks provide necessary breaks, their weaker hooks and limited variation make Solastalgia’s middle—from “Rain” through “The Heart of December”—feel a bit like a slog. Furthermore, the inclusion of “Metaphor,” an In Flames cover, at the very end detracts from the album’s flow and would have been better suited as a bonus track.

Even with its minor flaws, Solastalgia provides the perfect welcome to colder and darker seasons, offering a soundtrack for those who seek catharsis and solace in confronting inner turmoil. It successfully blends the best of The Circle and Nightsphere, creating a powerful and immersive tour de force of emotional intensity. Its songwriting takes listeners on a musical journey through a spectrum of genres, from serene blackgaze to aggressive hardcore, progressive death metal, and even screamo. For those drawn to the dark and melancholic, HERETOIR has created a record that successfully fuses their past into an experience that is sure to satisfy.

Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: AOP Records
Websites: heretoir.bandcamp.com/album/solastalgia | heretoir.com | facebook.com/heretoir
Releases Worldwide: September 19th, 2025

#2025 #35 #Alcest #AOPRecords #AtmosphericBlackMetal #BlackMetal #Fen #GermanMetal #Heretoir #InFlames #Katatonia #KillswitchEngage #Novembre #PostMetal #Review #Reviews #Sep25 #Shoegaze #Solastalgia

Primal Fear – Domination Review

By Steel Druhm

Ever since Ralph Scheepers left Gamma Ray for greener pastures and an ill-fated tryout for the vacant vocal spot in Judas Priest, he’s thrown his all into Primal Fear, and so, every two years or so, like clockwork, we get a new gleaming chrome platter from them. At first, it felt like he was doing Painkiller-esque album after album to show Priest what a huge fuck up they made by choosing Ripper over him.1 Over time, though, the Primal Fear sound morphed into a more power metal-centric style with Judas Priest no longer the primary influence. They’ve more or less occupied the same space as bands like Brainstorm and Mystic Prophecy for the last decade, and every release is a familiar buffet of macho riffs and Scheepers’ high-flying Halfordisms. 15th album Domination sees long-time guitarists Tom Naumann and Alexander Beyrodt depart, and Angus McSix axe-mistress Thalìa Bellazecca stepping in to replace them. Well-traveled drummer André Hilgers also comes aboard, replacing Michael Ehré. Will all this new blood shake up the Primal Fear sound and give us something different and unusual? Yes and no.

Domination kicks off in typical Primal Fear style with the anthemic and fist-pumping “The Hunter.” It’s a great example of their “Judas Priest doing power metal” sound, and it hits the chorus and makes you remember it after one spin. It’s what you expect at this point from Primal Fear, and it’s easy to enjoy. They follow that up with a run of equally catchy nuggets from “Destroyer” on through lead single “Tears of Fire.” All featuring their tried-and-true blueprint of meaty riffs and commanding vocals with a big(ish) chorus to screw your memory to the sticking point. Five songs in, you’re experiencing a very solid album that checks all the primal cuts.

Unfortunately, things start to get wobbly after that, with hits and misses appearing in random order. “Heroes and Gods” is decent and has some intensity, but the chorus falls flat and grows annoying. “Eden” is a 7-minute epic power ballad that’s okay but not epic or interesting enough to justify its length despite some decent guest vocals from Melissa Løwe Bonny (Ad Infinitum). Both “Scream” and “The Dead Don’t Die” feel generic and underwhelming, and this makes for a very soft and doughy middle for Domination. Late album track “Crossfire” brings things back around with a muscular, testosterone-heavy trip that plays to the band’s strength, but things then immediately crash again on the weird and awkward “March Boy March.” This one kicks off with weird EMD/club music before eventually launching into a speedy assault, but it feels flat and forced. I do give the band props for the odd closing ballad “A Tune I Won’t Forget” that starts out like a Leonard Cohen tune with Ralph adopting a smoky, world-weary baritone before exploding into his usual power and fury. It doesn’t amount to much, but it’s an interesting new shade nonetheless. At just over an hour, Domination is definitely too long, and since it has several lesser inclusions, it should have been pared down for a tighter, meaner release.

As ever, Ralph Scheepers is in fine form. He relies less and less on his upper-register screams and shrieks as the albums pile up, but he’s still the working man’s Rob Halford, and he knows how to push a metal anthem over the top. I’ve been a fan since his Gamma Ray days, and he always hits the mark. Long-time guitarist/songwriter Magnus Karlsson and new addition Thalìa Bellazecca do a respectable job providing the riff backdrop for Ralph, and on about half the tracks, they work some degree of magic. On the lesser tracks, things bog down into simplistic 80s-centric riffing and leads that just kind of disappear into the background. They do, however, come together for a rousing shred-fest on instrumental “Halluctions,” which is an interesting and moody addition.

Primal Fear has had a long run of good to very good albums, and Domination is the first miss in my book since 2009s 16.6 outing. Even when they miss, you still get over half an album’s worth of entertaining and replayable gym fodder. I suspect they will right the ship and come back in two years with something more memorable, and until that day, this will have to tide the faithful over. Hold fast for the Fear!

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Reigning Phoenix
Websites: primalfear.de | facebook.com/primalfearofficial | instagram.com/primalfearofficial
Releases Worldwide: September 5th, 2025

#2025 #AngusMcSix #Domination #GermanMetal #HeavyMetal #JudasPriest #MysticProphecy #PowerMetal #PrimalFear #ReigningPhoenixMusic #Review #Reviews #Sep25

Sad Serenity – Tiny Miracles Review

By Angry Metal Guy

Written By: Nameless_n00b_606

Perhaps more than any other subgenre of metal, prog requires work. Prog metal’s penchant for long, complex compositions can make an entire album feel like a chore, but the genre also dazzles with displays of virtuosic musicianship that prompt repeat listens. For prog metal collective Sad Serenity, German multi-instrumentalist Marcell Kaemmerer handles all the composing (music, lyrics, arrangements) and is responsible for much of the virtuosity, playing guitars, keyboards, and bass. Like their 2023 debut, The Grand Enigma, Tiny Miracles is a 70-plus-minute opus, comprised of what Sad Serenity describes as “6 mostly overlong songs of up to 23 minutes.”1 Sounding more like a warning than an invitation, this description makes prospective listeners wonder if Tiny Miracles will provoke—and reward—sustained attention.

Abounding with virtuosic performances, Tiny Miracles sounds like Dream Theater, especially their early 2000s output (Six Degrees of Inner Turbulence, Train of Thought). In his roles as Petrucci, Rudess, and Myung, Kaemmerer shines, crafting songs with chunky guitar riffs, bass-driven verses, and textural keyboards (“Tell the Moon”). Filling out the core of Sad Serenity is Greek vocalist George Margaritopolous, who reminds more of Cedric Bixler-Zavala (The Mars Volta) than he does Jame LaBrie when he belts the high notes. And though it would be hard to out-drum Mike Portnoy, Brazilian drummer Vinny Silva more than holds his own, effortlessly moving between machine gun double bass, double-time beats, and tight rim work (“Torn”). As a collective, Sad Serenity also benefits from contributions by musicians across the world, including Australia (violin), Croatia (transverse flute), and Kaemmerer’s native Germany (accordion). Björn von Känel balances all these elements in a deceptively airy mix. In its instrumental plentitude, technical prowess, and pristine production, Tiny Miracles sounds like a heavy metal symphony.

Sad Serenity says that Tiny Miracles revolves around “the small, miraculous and too often overlooked aspects of life,” yet all but one track takes inspiration from the grandiose domain of literature. “Alter Ego,” an adaptation of Stevenson’s Strange Case of Dr Jekyll and Mr Hyde, is the album’s shortest song and a banger, turning the dissonance-draped opening riff into a Tool-esque verse, sweet shredding, and some concluding prog nuttiness. “Torn,” the one song with no literary reference, is another (relatively) shorter track that slaps, twisting chunky rhythms and nifty riffs around an infectious chorus. Meanwhile, “A Cabin in the Woods”—the second longest track—sets a disjointed tone as the album opener; the placid verses and woodwinds evoke the naturalism of its source material (Thoreau’s Walden), but the pulsing synths and syncopated chugs aren’t exactly rustic. And then there’s “The Elemental Dance,” the obligatory multi-part prog suite. Sad Serenity’s version comes in five movements and is based on Goethe’s “Der Zauberlehrling” (“The Sorcerer’s Apprentice”). It has impressive moments, but some movements resonate more than others; one must ask why Sad Serenity didn’t separate this 23-minute Gargantua into five digestible tracks for the digital album. Given the band’s statement that Tiny Miracles spotlights overlooked minutiae, it’s fitting that the ‘smaller’ songs demand the most attention.

There’s no overlooking the powerful pipes of George Margaritopolous. Tiny Miracles contains songs with traditional structures that allow Margaritopolous to drop some supremely catchy hooks. There’s the aforementioned “Torn,” and then there’s “Tiny Miracles,” which slowly amplifies its anthemic chorus before adding urgency to its final iteration. But for the most part, Margaritopolous sings recitativo-style narratives from Kaemmerer’s literature-inspired libretto.2 In both “A Cabin in the Woods” and “Alter Ego,” shifts from third- to first-person perspective don’t clearly map onto compositional shifts. This may seem like a minor discrepancy, but it illustrates the dangers of favoring virtuosic yet functional vocals over vocal hooks—it puts pressure on the lyrics to carry more weight.

Having put in work to understand Tiny Miracles and its enormous compositions, I will say that Sad Serenity has a flawed but ultimately enjoyable sophomore album on its hands. The ‘shorter’ songs stand out the most, blending traditional structures with the jaw-dropping excursions that prog metal fans crave (“Torn,” “Alter Ego”). Conversely, the longer songs, in their grander narrative scale, contain fewer vocal hooks and sometimes meander (“A Cabin in the Woods,” “Tell the Moon”). Afficionados of the genre will garner appreciation from subtleties heretofore unmentioned: melodic modulations, mixed-mode chord progressions, etc. But to the metal fan in general, consider this a cautious invitation; Tiny Miracles is indeed overlong, but it does reward repeat listens.

Rating: Good!
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Self-Release
Websites: sadserenity.bandcamp.com | patreon.com/sadserenityofficial
Releases Worldwide: July 25th, 2025

#2025 #30 #DreamTheater #GermanMetal #Jul25 #ProgMetal #ProgressiveMetal #Review #Reviews #SadSerenity #TheMarsVolta #TinyMiracles #Tool

I ordered the new Goatblood CD since it's physical only, and just in time for another #BlackMetalMonday, it arrived from Germany. 'Mysticism of Unholy Cries' is top-notch bestial war metal just like their stellar 2023 record. 🔥

This one's limited to 300 copies and they still have some for sale here: https://astralnightmare.bandcamp.com/album/mysticism-of-unholy-cries

#WarMetal #Goatblood #BlackMetal #DeathMetal #2025Records #2025Albums #GermanBands #GermanMetal @Kitty @BlackenedGreen @rtw @vanessawynn @wendigo @HailsandAles @lola

I was going to save this for black metal Monday, as it's kinda black metal-y, but I'm posting it here today, as it's Bandcamp Friday, and literally the only way to get this album (even digitally) is to buy the CD. Which is kinda weird and gatekeepery, but I fucking LOVE Germany's GOATBLOOD, man, and I want them and the label to get all the money from my purchase today-- Goatblood's 2023 LP was one of my favorite 20 that year, and this one is just as damn good, if not better.

Hope everyone has a good Bandcamp Friday, tagging some black metal folks on this one (some of you may alread know about it), as it's some SICK, must-hear war metal, my dudes.

https://astralnightmare.bandcamp.com/album/mysticism-of-unholy-cries

#WarMetal #Goatblood #BlackMetal #DeathMetal #2025Records #Bandcamp #BandcampFriday #2025Albums #GermanBands #GermanMetal @Kitty @BlackenedGreen @rtw @cory @vanessawynn @wendigo @HailsandAles @lola