#voivod — Public Fediverse posts

The storms persist, but now it’s getting hot! Steam roils inside the filter ducts as my minions scald themselves in the pursuit of moderately valuable nuggets. Will they succeed before they cook like so many broccoli florets? Only time will tell.

Dead or alive, I’ll make sure these lazy louts deliver their semi-precious lodes. So be thankful, and BEHOLD!

Kenstrosity’s Mountainous Member

Volcandra // Beyond the Will of Mortals [April 24th, 2026 – Prosthetic Records]

Who knows why we don’t get promo sometimes? Countless times I’ve been faced with great anticipation for a new record by a band I was keeping tabs on, and countless times, for unknown reasons, promo never came. Louisville melodic black/death quartet Volcandra now enter those ranks with the unsent Beyond the Will of Mortals. Picking up where The Will of Ancients left off, Beyond the Will of Mortals expands in scope and scale, eliciting a grandeur in composition that recalls the epic yarns spun by Foretoken, Hath, and Astralborne, but with the thrashing sensibilities of Antiverse and Skeletonwitch. Leading the charge in stunning fashion, “Beyond the Will of Mortals” and “Marauders of the Cosmic Vortex” explode with a visceral burst of energy built around high-octane riffs, screaming solos, and majestic melodies. Dave Palenske in particular acquits himself admirably, expanding his vocal range far beyond the expected, foraying into scorching screams and subterranean gutturals with excellent technique and charisma (“Venom March Enchantress”). But the rest of the band easily keeps up, deftly trading blows between power metal-ready gallops, violent swings into thrash territory, and all manner of other pyrotechnics to make Beyond the Will of Mortals Volcandra’s most versatile and varied offering yet. To some, this may create a disjointed experience as rippers like “Mage of Fabled Sorcery” contrast in pacing and personality to its neighbors. However, with repeat listens that effects dissolves, making more room to appreciate how much fun this record really is. The back half capitalizes on that effect, unleashing lean and mean banger after banger to leave you salivating for another round (“Within the Webs,” “Infinite Decadence”). In sum, Beyond the Will of Mortals is a fine, invigorating inclusion into anyone’s rotation; so if you missed it, get on it now!

Creeping Ivy’s Punkyard Dogs

Dead Bob // Nothing Changes Everything [April 21st, 2026 – Wrong Records]

In The Collector’s Guide to Heavy Metal, Martin Popoff describes Wrong (1989) by Nomeansno as ‘the mightiest merger between the hateful aggression of punk and the discipline of heavy metal’ (316). Essentially, Popoff affixed to Wrong AMG’s Iconic label: 10/10.1 For readers perhaps unfamiliar with Nomeansno, my best follow-up on Popoff’s portrayal is that the band—formed in 1979 by the Wright brothers (Rob on bass/vocals, John on drums/vocals)—sounds like The Minutemen hijacked a Voivod. After an incredible eleven-album run, Nomeansno officially retired in 2016. Why am I wasting my word count with this history lesson on the greatest Canadian punk band of all time? Because Dead Bob, John Wright’s solo project, released its sophomore album this April. Whereas Life Like fulfills the vision of one man, John enlisted a band for Nothing Changes Everything. Bookending the album are the last two songs John co-wrote with Rob. The techy guitar/bass interplay of lead-off “Centre of the Universe,” as well as the pounding rhythms of closer “No Fun (Alt Mix),” come closest to the punk/metal hybridity of vintage Nomeansno. Between these tracks, the album gets increasingly weird (which is to say, it gets increasingly ‘punk,’ in the word’s original connotation). “Nothing Changes Everything” deploys horns, “Hard is Hard” mixes art/surf rock, and “The Present” sprinkles psychedelic guitar leads over pulsing synths and tribal percussion. If you’re a fan of avant-garde music in a compact package, you can’t go wrong with Nothing Changes Everything.

Poison Ruïn // Hymns from the Hills [April 3rd, 2026 – Relapse Records]

Whilst reading Tyme‘s (excellent) review of Twin Serpent’s (super fun) True Norwegian Blackgrass, a member of the commentariat reminded me of how much I enjoyed Poison Ruïn’s latest offering upon a first listen. That comment got me to revisit Hymn from the Hills, and I’m glad I did. To sell these Philly post-punks to the AMG Faithful, I’ll point out a few things: they’re signed to Relapse Records, they curate a medieval aesthetic (which includes deploying dungeon synths), and the new record was mastered by Arthur Rizk. In addition to liberal metal elements, Poison Ruïn occasionally stride with rock n’ roll swagger (“Hymn from the Hills”), with primary visionary Mac Kennedy channeling Blue Öyster Cult in his role as singer, guitarist, and primary songwriter (“Lily of the Valley”). “Eidolon” perfectly exemplifies the band’s hybridity, mashing up the melody of “Layla,” the propulsive drive of Hüsker Dü, and the rhythmic punctuations of “For Whom the Bell Tolls.” This may sound like a critique, but it’s not; Poison Ruïn excels at mixing punk, rock, and metal into their own arthouse concoction. Metal purists might have to wait until the end of the album, though, to have their fancy truly tickled. But wait, they should, as “Sleeping Giant (Interlude)” offers funeral doom content in a punk-sized package, while closer “The Standoff” gets moving with a wicked blast beat. I’ll definitely be heading for these post-punk hills more and more throughout the year.

Scimitar // Scimitarium II [April 24th, 2026 – Crypt of the Wizard]

Scimitar’s first song receptacle was one of my favorite debuts of 2025. On Scimitarium I, this Danish five-piece served up a scintillating selection of ‘black occult rock,’ combining the caustic fervor of Malokarpatan with the psychedelic haze of Blue Cheer, topped off with a post-punk flavoring of Joy Division. A year later, this Copenhagen cutter returns with Scimitarium II, a follow-up that satisfyingly mirrors the album-art format of its predecessor. Whereas Scimitarium I demonstrated range marred a bit by roughshod production, volume II sounds much sharper, slashing and dashing for a lean 40 minutes. The opening title track introduces our combatants: the dexterous drumming of CCsquele; the counter-melodic bass of Olle Bergholz; the sinister guitar fury of Johan L. Ekstrand and Anders M. Jørgensen; and finally, the commanding vocals of Shaam A.2 From there, the album rips through a trio of unrelenting ragers that feel like they can fall apart at any minute but miraculously hold together. “Through Lava Lit Roads to Lavilenda, Pt. II” offers the only reprieve, spotlighting Shaam’s dynamic range and impressive timbre. Closing out the collection is “Mobula Mobular,” a 13-minute monster built around a doomy riff whose chromaticism lurches upward and downward, to hypnotizing effect. If Scimitar can marry the ambition of I with the ferocity of II next time around, they’ll have a blackened-trad killer on their hands.

Andy-War-Hall’s Dandy Score Haul

Elegant Weapons // Evolution [April 24th, 2026 – Exciter Records]

Everything about Elegant Weapons and the super group’s sophomore record Evolution is a misnomer. Evolution is a high-octane slugfest of tried-and-true heavy metal-leaning hard rock, and Elegant Weapons swing, punch, and bite through it with everything but grace. Is this a problem? When Richie Faulkener’s (Judas Priest) riffs are as groovy and burly as ever and his solos as grin-inducing, Ronnie Romero’s (ex-Rainbow, ex-Michael Schenker Group) voice is booming as it is, and when Dave Rimmer (Uriah Heep) and Christopher Williams’ (Accept) bass and drums respectively, carry as tight a pulse as they do on Evolution, not at all. When it all coalesces into uber catchy fist-pumping anthems like “Bridges Burn,” “The Devil Calls,” and “Shooting Shadows,” especially so. Evolution is easy-peasy listening, and Elegant Weapons’ chemistry and knack for hookcraft make its near hour-long runtime fly by, as well as ease the cringe of the hyper-Boomeristic lyricism on “Generation Me.” They also manage to make fairly stock power ballads in “Come Back to Me” and “Keeper of the Keys” feel affecting, driven by a viral vocal presence and emotive, timeless guitar soloing. Evolution is fun, and Elegant Weapons are sharp. ‘Nuff said.

Demon Spell // Blessed Be the Dark [April 24th, 2026 – Dying Victims Productions]

Creeping from an obscure, ancient, and sinister darkness, Sicily’s Demon Spell have conjured a shadow-cast era of heavy metal’s history back to the light of day with their debut Blessed Be the Dark. Wielding the evil auras of Mercyful Fate and Witchfinder General, Demon Spell play an early-80s melange of early thrash, occult rock, and NWoBHM riffcraft and swagger. Blessed Be the Dark is driven by excellent performances. Vocalist Federico Fano’s falsetto wails evoke King Diamond at his best on “As Lucifer Smiles” while drummer Dario Casabona drops slick, pummeling fills over “Curse of the Undead.” Sinister melodies and atmospheres abound on Blessed Be the Dark, with “The Tolling” and “Hexes and Horrors” driving home a vintage horror aesthetic while tearing it up with blistering heavy metal. Blessed Be the Dark also just sounds pleasantly old. Demon Spell’s guitars and bass sound pulled straight from 1981, complementing their retro songcraft perfectly. Blessed Be the Dark sounds like the night come alive, a fast, fun, and delightfully dark exploration of the kinds of heavy metal that gave your grandma panic attacks back in the day. Fall under the Demon Spell today!

Grin Reaper’s Grim Goodies

Nervosa // Slave Machine [April 3rd, 2026 – Napalm Records]

For a band releasing their sixth album in twelve years, Nervosa sounds remarkably vital. Staying the course with a dozen tracks of their signature death/thrash, Slave Machine burns through forty-three minutes of whammy dives, soaring leads, and all-around thrashy goodness. Writing tunes that pay homage to Sepultura (“You Are Not a Hero”), Kreator (“Ghost Notes”), and Sodom (“The Call”), Nervosa bludgeons with blunt-force drama while touting slick riffs and venomous melodies. Slave Machine opens with “Impending Doom,” a stirring salvo that Arch Enemy wishes they’d written, and from there Nervosa hints at the familiar without ever straying from their own lane. “Hate” starts with a riff that simultaneously reminds of Maiden’s “Flash of the Blade” and System of a Down’s “B.Y.O.B.” before spiraling into vaguely In Flames-tinged melodeath. Meanwhile, “Crawling for Your Pride” and “Beast of Burden” draw from the viciousness of mid-aughts Soulfly. Over and over, Nervosa pulls from known sources, yet bakes enough novelty into their songwriting to sound fresh and pummeling. Those intimate with Nervosa won’t find many surprises here, but are in for a treat. If this is your first encounter with these Brazilian badasses, gird your ears and strap in—welcome to the Slave Machine.

Kõdu // Kirjad Sõgedate Külast [April 20th, 2026 – Antiq Records]

Five years after delivering debut Unusta Kõik, Estonian outfit Kõdu graces us with their sophomore album. Translated as ‘Letters from the Village of the Blind,’3 Kirjad Sõgedate Külast details the sordid ruination of a backwoods village, relating its narrative aspects through a series of letters where each song chronicles a different villager’s perspective.4 Kõdu grounds the lyrics in their native language, drawing from nineteenth and twentieth-century Estonian poets for inspiration. Despite the depth of the macabre backdrop, I never would have taken the time to learn more if Kõdu’s music hadn’t entranced me from the outset. Slow-burn black metal abounds on Kirjad Sõgedate Külast, recalling Dødheimsgard’s shifting moods (“II”) and eclectic instrumentation (“III”) muddled with Wayfarer’s rustic arrangements (“VI”) and Emperor’s dramatic flair (“V”). Musically, Kirjad Sõgedate Külast conjures lush soundscapes (“VII”) through considered songwriting, expertly balancing black metal discharges with melancholic passages that give moments just the right amount of time to bludgeon or breathe before pivoting. I regret not getting the chance to review Kõdu’s latest in full, because the folk magic they weave on Kirjad Sõgedate Külast deserves fanfare and kudõs aplenty.

ClarkKent’s Epic Elegy

Bloody Valkyria // Requiem – Reveries Of The Dying [April 3rd, 2026 – Northern Silence Productions]

Bloody Valkyria, the product of Finland’s Jere Kervinen, peddles in the same sort of epic symphonic/folk black metal that the likes of Ancient Mastery, Stormkeep, and Moonlight Sorcery dish out. Kervinen’s emotionally charged project appears inspired by a personal loss, and you can feel his passion in the emotional outpouring of his music and lyrics. On the epic opener, “Symphony of Silence,” Bloody Valkyria reveal their capability with the patient slow burn. There’s the natural, serene ambience of animal sounds, strings, folky flutes, and then a sudden explosion of riffs and blast beats. And boy does Kervinen write some extraordinary leads, which makes his slow-burn approach all the more rewarding. Each song contains a well-earned hooky riff/trem that holds its sway over you even as the song grows into more thoughtful serenity. Reading along with Kervinen’s poetic, touching lyrics makes the experience all the more poignant as he ruminates on death and the meaning of life. The grief by the end, as he sings about his “beloved north” and a desire for its/her embrace, is palpable. This is a beautiful record that may be too good for these dirty filters, but I just couldn’t risk it getting lost in the shuffle of the chaos that is the end of year.

Japanese death metal quartet Defiled have spent three decades releasing records that are unique and stubbornly uncategorizable. From the innovative and boundary-pushing (2003’s Divination and 2011’s In Crisis), to the leaner, more modern era (Towards Inevitable Ruin through Horror Beyond Horror), their eight-album discography has wandered through as many genres as it has writers on this blog.1 Divination and In Crisis sounded like stuffing Cryptopsy, Voivod, and Primus into a metal box and kicking it down a flight of stairs, but lineup turnover ushered in a disappointing shift on Towards Inevitable Ruin that persisted through the next three albums. Accordingly, my AMG colleagues had no shortage of criticisms, yet beneath every complaint—and AMG’s Law of Diminishing Recordings—lies the group’s unwavering shinjō:2 write the music they want to write and don’t give a damn what anyone thinks, as long as it provokes a reaction. What reaction will Defiled’s ninth album, Altered State, draw?

As it turns out, a positive one. On Altered State, Defiled’s early, unhinged chaos has given way to a more controlled sound, though the quartet still brings plenty of rhythmic changes (“Dazed in Blindness”), odd time signatures (“Prophecies”), and off-kilter grooves (“Obsession”) that confirm the group’s trademark brand of wackiness is alive and kicking. Across approximately forty-three minutes, Defiled tear through fourteen tracks, loading songs like “Portal,” “The Degradation,” and “Genocidal Stage” with pit-igniting, muscular riffs that nod toward Sepultura’s classic era. The first seven tracks fly by, but with Altered State’s familiar grindcore-leaning structure, the feeling of fatigue begins to creep in, especially as many songs follow similar patterns. Fortunately, cuts like “The Ultra Death” and “Metamorphosis of Evil” help break that spell, injecting a welcome dose of Human-era Death into the mix. And while it remains a melting pot of genres, Altered State plants its flag firmly in thrash and death above all else.

Two enduring criticisms have plagued Defiled’s modern era, but Altered State shows meaningful improvement on both. 2024’s Horror Beyond Horror struggled not because of weak performances, but because its material failed to leave a lasting mark. Altered state largely flips that script, relying on a barrage of catchy riffing by Yusuke Sumita and Sinichiro Hamada to craft tracks that are both engaging and memorable in equal measure. From “Obsession” through “Genocidal Stage,” my head rarely stayed still, nodding in time as Keisuke Hamada’s assaulting blasts and jackhammer rhythms fuse with Sumita and Hamada’s down-picked guitar lines. Vocally, Hamada delivers a solid, deathly growl with a dusting of groove metal grit that sticks with Defiled’s usual approach. Though his delivery is throaty, consistent and appropriately abrasive, his phrasing doesn’t vary much. Long drawn‑out growls tend to appear in the same spots—always during intros and usually coming out of choruses or a bridge—making his performance predictable even as the instrumentation around it shifts and mutates, serving more as a functional piece than a standout characteristic.

Takachita Nakajima’s bass excursions revive some of the low-end grooves that defined Defiled’s early years (see “The Degradation” and “Metamorphosis of Evil”, for example), but recent releases buried them under bad production. While the mix here is still too loud and compressed to give his bass the adequate space it deserves, Altered State’s production is nonetheless a clear improvement. Its added warmth and body give the material a classic death metal heft that lets the songwriting land squarely in that sweet spot of ’90s nostalgia, while still remaining balanced enough for Nakakima’s bass ventures to occasionally surface beneath the nuances of Humada’s terrific drumming or Sumita’s and Keisuke Hamada’s sprinting riffwork.

In his review of Horror Beyond Horror, Felagund held out hope that the next writer to tackle Defiled would earn the honor of bestowing their first “Great” rating since In Crisis. I won’t be claiming that distinction with Altered State, but I do find myself in the welcome position of giving these Japanese veterans their strongest marks in a decade. Altered State succeeds by largely shedding prior missteps and packing itself with memorable material while still delivering the patented twists and turns that have defined Defiled’s sound for years. Hard to love but undoubtedly entertaining, Altered State is the first step in a course correction Defiled desperately needed.

Rating: Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: defiledjapan.bandcamp.com | facebook.com/defiled
Releases Worldwide: June 12th, 2026

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod