Category Archives: Album Reviews

Album Review – Daemonium Regni / Daemonium Regni (2026)

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Let the demons enter your soul to the suffocating, ominous debut solo album by this multi-talented veteran hailing from Sweden.

Ominous, somber, and foreboding, Stockholm, Sweden-based Black/Doom Metal creature Daemonium Regni, which translates as “demon kingdom” from Latin, is the new solo-project by Micke Broberg of Unanimated, a dark and epic Black Metal feast for fans of Root, Bathory, and Ancient Wisdom. Mastered by Dan Swanö at Unisound Studios, and with layout by Daniele Valeriani (Mysticum, Mayhem, Triumph of Death, Unanimated), the album not only marks Daemonium Regni’s first full-length offering; as a matter of fact, it is the project’s very first sign of existence. Showcasing proficient arrangements with different layers added on top of repetitive riffs, and Latin lyrics performed as demonic growls as well as in the form of somber chanting, the album is absolutely dark from start to finish, leaving a mark on your soul after all is said and done.

Micke wastes no time and begin distilling his devilish, grim Black Metal in Mater Daemonium (or “mother of demons” from Latin), with its malignant vibe being driven by his sluggish Doom Metal beats and Stygian vocal lines. Then presenting a more demonic old school Black Metal sonority we’re treated to Ascendens Tenebrae (“ascending darkness”), where his guitar riffs transpire evil, not to mention his blast beats sound demented; and again offering a cryptic hybrid of Black and Doom Metal we face Silentium (Mors Itinerarum), or “silence (death of the paths),” with its background elements sounding absolutely haunting. However, it’s when Micke goes full Black Metal that he truly thrives, exactly like what we see in Luna Sanguinea (“blood moon”), presenting a well-balanced and demolishing fusion of scathing riffs, blast beats and evil vociferations for our absolute delight.

In Spiritus In Flammo (“spirit in flames”), Micke will destroy your frail soul with his demonic gnarls and phantasmagorical guitars and drums; followed by Sacrificium (“sacrifice”), a more introspective track working like an atmospheric interlude, albeit taking away some of the fury and darkness from all previous songs. After that, Micke slashes his axe mercilessly in the also Doom Metal-infused aria Magica Cultus (“magical cult”), one of the heaviest songs of the album boosted by his deep, infernal guttural; while ending his debut ceremony he offers our putrid ears a visceral Blackened Doom feast entitled Damnationem (“damnation”), and let’s be honest, he couldn’t have concluded his first solo endeavor in a more obscure and suffocating manner.

In summary, the eight tracks which together constitute Daemonium Regni’s eponymous debut album feel like a liturgy charged with foul energy held in the service of darkness and perdition, and in case you want to join Micke in absolute obscurity you can find the project on Facebook, and of course, purchase a copy of such a venomous album from the Darkness Shall Rise Productions’ BandCamp or webstore. In other words, it’s time to let the demons enter your impious soul to the sound of the debut by Daemonium Regni, and if the album is a sign of the path that Micke will follow in his future solo albums, we can rest assured that his darkness is among us all to stay.

Best moments of the album: Ascendens Tenebrae, Luna Sanguinea and Magica Cultus.

Worst moments of the album: Sacrificium.

Released in 2026 Darkness Shall Rise Productions

Track listing
1. Mater Daemonium 7:28
2. Ascendens Tenebrae 5:35
3. Silentium (Mors Itinerarum) 5:05
4. Luna Sanguinea 4:33
5. Spiritus In Flammo 7:23
6. Sacrificium 2:46
7. Magica Cultus 5:10
8. Damnationem 6:38

Band members
Micke Broberg – vocals, all instruments

Album Review – Hrob / Brána Chladu (2026)

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These ruthless Slovakian death dealers are ready to attack with their debut opus, a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation.

Founded in the beautiful Slovakian capital of Bratislava in 2021 by vocalist ansd guitarist Michal Matúš Uharček and guitarist Kiko Kavický as a side-project to their band Krudus, the indomitable Death/Doom Metal creature Hrob ( a word of Slavic origin, primarily meaning “grave” or “tomb”) is unleashing hell with their debut offering, entitled Brána Chladu, or “gate of cold” from Slovakian. Recorded by Michal Matúš Uharček and Kiko Kavický, mixed by Michal Matúš Uharček, mastered by James Plotkin at Plotkinworks, and displaying a bitterly cold artwork by Jan Vlášek, the striking debut by the aforementioned Michal and Kiko alongside bassist Anton “Vrana” Rozbora and drummer Matej Žitňanský is a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation, shifting between slime-slow passages soaked in brooding heaviness and shake-you-from-a-trance pummeling blasts.

The album’s sinister, atmospheric Intro will penetrate deep inside your mind before you’re dragged into darkness to the sound of Chrám Prázdnoty, or “temple of the void” from Slovakian, a beyond infernal display of Blackened Death and Doom Metal led by Matej’s crushing drums, all boosted by the gruesome, evil vociferations by Michal. Their Death and Doom Metal attack goes on in full force in Tiene Stromov (“shadows of the trees”), a lecture in the style where the guitars by Michal and Kiko exhale sulfur and obscurity, while the neck-breaking Genocída Snov (“genocide of dreams”) offers more of the band’s trademark sound, with Michal’s demonic guttural walking hand in hand with the sluggish beats by Matej. Then after the folk-ish interlude Medzihra we face Zotročený Oheň (“enslaved fire”), alternating between sheer Death Metal violence and grim Doom Metal passages, with Vrana and Matej hammering their instruments manically. And lastly, the title-track Brána Chladu concludes the album on a demolishing mode, with Michal and Kiko once again firing Stygian riffs nonstop.

Brána Chladu is undoubtedly a morbid celebration of those fertile years of the early-to-mid 90’s when death-doom rose from rotting Death Metal and each bled b(l)ack into the other, being therefore highly recommended for fans of early Paradise Lost and Septic Flesh as well as Disembowelment, Asphyx, and Gorement, among several others.  Those Slovakian death dealers are not fooling around when it comes to delivering sheer heaviness and doom in their debut offering, and you can get in touch with them to let them know how much you love their obscure music via Facebook and Instagram, stream their savage creations on Spotify, and grab a copy of their devilish album from the Night Terrors Records’ BandCamp or webstore. Brána Chladu is as deadly as it is cold, bringing to us all a venomous fusion of Death and Doom Metal that will certainly keep the band moving forward for years to come, letting their harsh music reverberate to the four corners of our decaying world.

Best moments of the album: Tiene Stromov, Genocída Snov and Zotročený Oheň.

Worst moments of the album: None.

Released in 2026 Memento Mori/Night Terrors Records

Track listing
1. Intro 1:25
2. Chrám Prázdnoty 7:15
3. Tiene Stromov 5:31
4. Genocída Snov 6:19
5. Medzihra 1:16
6. Zotročený Oheň 5:58
7. Brána Chladu 9:00

Band members
Michal Matúš Uharček – vocals, guitars
Kiko Kavický – guitars
Anton “Vrana” Rozbora – bass
Matej Žitňanský – drums

Album Review – Cage Fight / Exuvia (2026)

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Representing a new stage in their career, the sophomore beast by this UK metal entity retains the band’s raw, old school Hardcore heart while also exploring more multi-layered terrains, atmospheres and melodies.

The word Exuvia refers to the outer skin that’s shed by creatures like arachnids, crustaceans and insects, giving way for a new stage of life. It’s the perfect title for the sophomore opus by London, England-based Crossover/Hardcore outfit Cage Fight. Recorded by Sam Bloor at Lower Lane Studios, mixed by Jim Pinder (Sleep Token, Malevolence), and displaying a grim artwork shot by photographer Manuel Acquualeni (depicting a radiation mask, connecting both to fronwoman Rachel Aspe’s experience with her grandmother, and to the album’s title, while also also representing healing), the blistering, 11-track Exuvia finds the band formed of Rachel Aspe on vocals, James Monteith on the guitar, Will Chain on bass, and Nicholas Plews on drums in a time of change after their 2022 self-titled debut, retaining the raw, old school Hardcore heart of Cage Fight while also exploring more multi-layered terrains, atmospheres and melodies, making their sound bigger, tighter and more epic than ever before.

After the dark industrial intro Confined, featuring Rob Parton of electronic music project Arconic, get ready for total madness and chaos together with Cage Fight in Oxygen, where Nicholas simply hammers his drums like a demented creature, offering Rachel exactly what she needs to vociferate deeply and rabidly; while in Pig the indomitable Rachel calls out the creepy men who send women unsolicited messages online, and she makes sure she scares the shit out of those bastards with her she-devil roars in a true headbanging Hardcore feast. Pick Your Fighter, featuring Julien Truchan of Benighted, brings forward excellent lyrics (“Pick your fighter / The battle begins / Only one will win / Pick your fighter / The choice is yours / He looks up toward his dream / Recalling and rising / His thoughts elevate him / His fists are fiery waves / Here to smash the enclave / Refuse to be enslaved”) inspired by a French pop song named “Et c’est parti…” by Nâdiya; whereas James takes the lead with melodic yet visceral riffs in the hard hitting Un Bon Souvenir, blending Hardcore and modern metal music. And his guitar keeps exhaling aggression and fire in Deathstalker, with Rachel sounding possessed by a demonic entity on vocals.

The second part of the album begins with the atmospheric, creepy interlude Le Déni, or “the denial” from French, penetrating deep inside our souls before the band comes ripping with the title-track Exuvia, inspired by Rachel’s grandmother who is currently battling cancer, and who also helped her write the lyrics. The music is absolutely heavy, fierce and caustic, with Nicholas once again dictating the pace supported by the thunderous bass by Will. James then offers another round of his striking riffage in The Hammer Crush, inspiring us all to bang our heads together with the band until the very last second, with Rachel’s Death Metal-like vocals adding endless rage to the music. In IHYG (I Hate Your Guts) they invest in a more direct Crossover Thrash sonority, with the heavy kitchen by Will and Nicholas reverberating through the air in great fashion, followed by the expansive final track Élégie, which is about Rachel losing her grandfather, and the regret that can come from things left unsaid, offering a darker, more introspective side of the band. Moreover, Rachel lets all her anger and fear flow from her desperate vocals. There’s also an alternative version for one of the songs titled Un Bon Souvenir (Single Version), which is more like a bonus track as it’s a less detailed version of it. Not bad for some radio exposure, but the full version is way more compelling.

“With Exuvia, we took a step back and reflected on where we wanted to take things next. Our first record happened quickly: it came out of Covid, we had this crazy momentum with writing, and we just rolled with it. On this new record, we explored deeper in terms of songwriting and melody, and also got to know each other better as musicians,” said guitarist James Monteith. “One thing that has stayed the same is that we want to have fun. But now with the knowledge of who we all are, we’ve managed to hone in on a sound that we really want – it feels like a rebirth of the band.” You can get to know more details about the band’s sonic metamorphosis on Facebook and on Instagram, keeping an eye on their incendiary live shows, stream their music on YouTube and on Spotify, and of course put your blook-soaked hands on their new album by clicking HERE. Exuvia might represent an evolution in the sound by Cage Fight, and they might be shedding their skin in the process, but in the end when you look deep inside their soul, they’re still a metal band. Heavy, hungry, and ready to kill, armed with their stunning new offering.

Best moments of the album: Oxygen, Pick Your Fighter, Deathstalker and The Hammer Crush.

Worst moments of the album: Un Bon Souvenir (Single Version).

Released in 2026 Spinefarm Records

Track listing
1. Confined 1:28
2. Oxygen 3:06
3. Pig 3:18
4. Pick Your Fighter 2:44
5. Un Bon Souvenir 6:03
6. Deathstalker 3:24
7. Le Déni 1:46
8. Exuvia 5:56
9. The Hammer Crush 2:50
10. IHYG (I Hate Your Guts) 3:44
11. Élégie 5:57
12. Un Bon Souvenir (Single Version) 4:01

Band members
Rachel Aspe – vocals
James Monteith – guitar
Will Chain – bass
Nicholas Plews – drums

Guest musicians
Rob Parton – everything on “Confined”
Julien Truchan – vocals on “Pick Your Fighter”

Album Review – Drudkh / Thaw EP (2026)

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Ukraine’s own Black Metal entity returns with an introspective three-track EP, continuing to illuminate the path for those who dare to wander, to question, and to dream.

Born from the whispering winds and the brooding landscapes of Ukraine, a realm steeped in history and draped in the enigma of folklore, emerges Drudkh, a beacon of profound expression in the vast expanse of Black Metal. In the wake of their 2025 full-length album Shadow Play (or “Гра тіней” in their mother tongue), the band formed of Thurios on vocals, guitars and keyboards, Roman Saenko on the guitars and bass, Krechet on bass and keyboards, and Vlad on drums and keyboards extends this same creative breath with Thaw, or “Відлига” in Ukrainian, a three-track EP recorded during the album’s sessions and conceived within the same emotional horizon. If the album traced the tension between shadow and illumination, Thaw inhabits the fragile interval between stillness and movement, where change begins almost imperceptibly beneath a frozen surface, being therefore highly recommended for fans of Hate Forest, Windswept, and Agalloch.

The first song of the EP, titled Пам’ять (Memory), already brings to our avid ears the band’s harsh and piercing sounds, with Thurios delivering Stygian vociferations while Roman slashes his guitar and bass in great fashion; followed by the also obscure and harsh tune Десь, колись (Somewhere, Sometime), which begins in an introspective manner before morphing into a feast of Atmospheric Black Metal led by the caustic riffage by Roman. And last but certainly not least, Мить у вічності (A Moment in Eternity) is a full-bodied Black Metal attack by Drudkh, blasting our ears and minds with their devilish roars, scathing riffs and hammering drums while also presenting a good dosage of Doom Metal to give the whole song an even darker vibe, closing the EP on a visceral note.

Drudkh’s journey is one of introspection, seeking to create music that evokes a profound emotional resonance that stirs the depths of the human experience. In Thaw, they continue to illuminate the path for those who dare to wander, to question, and to dream, and you can easily follow such an exciting path by checking what the band is up to on Facebook, by streaming their unique creations on Spotify, and of course by purchasing their new EP from Bandcamp, from Season of Mist, or by clicking HERE. Thaw is a very complex and multi-layered EP, overflowing all types of emotions during its 20 minutes of music, and we can rest assured we’ll hear a lot more from Drudkh in the near future with another blast of excellence like what’s found in their striking new release.

Best moments of the album: Мить у вічності (A Moment in Eternity).

Worst moments of the album: None.

Released in 2026 Season of Mist: Underground Activists

Track listing
1. Пам’ять (Memory) 7:07
2. Десь, колись (Somewhere, Sometime) 5:51
3. Мить у вічності (A Moment in Eternity) 7:02

Band members
Thurios – vocals, guitars, keyboards
Roman Saenko – guitars, bass
Krechet – bass, keyboards
Vlad – drums, keyboards

Album Review – Kaasin / The Underworld (2026)

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The underworld is calling us all to the sound of the striking sophomore album by this unstoppable Hard Rock machine from Norway.

Widely respected for his collaborations with internationally renowned artists such as Glenn Hughes (Deep Purple) and Joe Lynn Turner (Rainbow), Norway-based guitarist Jo Henning Kaasin returns with his Hard Rock project Kaasin, alongside vocalist Jan Thore Grefstad (Saint Deamon, TNT), bassist Ståle Kaasin (Humbucker, 2020Vision), keyboardist Erling Henanger (Magic Pie, Holter) and drummer Per-Morten Bergseth (Jorn, Wig Wam, Course of Fate, Holter), offering us all a new studio album titled The Underworld, the follow-up to their 2021 debut Fired Up. Produced and recorded by Halvor Halvorsen, Jo Henning Kaasin and Ståle Kaasin, mixed by Halvor Halvorsen, and with artwork by Stan W. Decker, the album marks a new chapter for these Norwegian Hard Rock warriors, presenting a darker and more atmospheric sound while remaining firmly rooted in classic Hard Rock traditions built on strong melodies and solid musicianship.

It’s pedal to the metal in the striking Hard Rock feast entitled The Real World, with the melodic vocals by Jan bringing even more electricity to their music, also boosted by Erling’s stylish keys; and the rockin’ guitars by Jo and the rumbling bass by Ståle set the tone in Two Hearts, a mid-tempo Hard Rock song where Jan once again steals the show with his passionate vocals. We Speed at Night reminds me of some old school creations by the mighty Running Wild mixed with classic Hard Rock from the Sunset Strip, and the final result is obviously awesome; followed by Iron Horse, another solid rockin’ tune by those talented Norwegians, with its more delicate moments clashing in great fashion with the powerful vocals by Jan.

There’s still a lot more fuel to burn in The Underworld, starting with Invisible, offering pure Hard Rock and AOR magic blasted by the band, led by Per-Morten’s classic drums, while in Over the Mountain they add hints of Blues Rock to their core sonority. Moreover, Jo and Ståle are in total sync from start to finish, with Jo’s guitar solo sounding fantastic. Arabian Night is definitely inspired by the music by Deep Purple while keeping Kaasin’s own essence intact, with their guitars and keys exhaling epicness, and after the atmospheric interlude The Descent of Souls we face the title-track The Underworld, a Rock N’ Roll steamroller led by Jo’s sharp riffage and Per-Morten’s nonstop beats and fills while Jan keeps delivering his striking vocals until the very end.

The foundation of Kaasin was laid with a clear ambition to create contemporary Hard Rock with a classic spirit and a strong sense of identity, and both Fired Up and The Underworld bring forward exactly that sound and feeling for our absolute delight. The Underworld will certainly help the band go places and reach new heights, and if you want to join their Rock N’ Roll rocket ship you can follow the band on Facebook, staying up to date with their news and live performances, stream their rockin’ tunes on any platform like Spotify, and grab a copy of their incendiary new album from Pride & Joy Music. Having said all that, can you hear the underworld calling us all to the sound of the new album by the mighty Kaasin?

Best moments of the album: The Real World, We Speed at Night and The Underworld.

Worst moments of the album: The Descent of Souls.

Released in 2026 Pride & Joy Music

Track listing
1. The Real World 4:20
2. Two Hearts 3:43
3. We Speed at Night 4:20
4. Iron Horse 5:34
5. Invisible 5:17
6. Over the Mountain 4:57
7. Arabian Night 4:54
8. The Descent of Souls 1:36
9. The Underworld 3:52

Band members
Jan Thore Grefstad – vocals
Jo Henning Kaasin – guitar
Ståle Kaasin – bass
Erling Henanger – keyboards
Per-Morten Bergseth – drums

Album Review – Cnoc An Tursa / A Cry For The Slain (2026)

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One of the most interesting acts of the Scottish metal scene returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album.

“Let warlocks grim an’ wither’d hags
Tell how wi’ you on ragweed nags
They skim the muirs an’ dizzy crags
Wi’ wicked speed;
And in kirk-yards renew their leagues,
Owre howket dead.” – Robert Burns – Address To The Devil

Eight years on from their last album, titled The Forty Five, Falkirk, Scotland’s own Blackened Folk Metal warriors Cnoc An Tursa (or “Hill of the Standing Stone” in Scottish Gaelic) returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album, entitled A Cry For The Slain. With the intuitive mastering of Jaime Gomez Arellano at Orgone Studios bringing depth and vigor to every note, and with all the emotion and secrets of its narrative captured in the evocative artwork of the unstoppable Olga Kann, the newborn opus by Alan Buchan on vocals, Rene McDonald Hill on the guitars and keyboards, and Bryan Hamilton on drums is a breathtaking album for fans of Primordial, Winterfylleth, Saor and Forefather, a beacon burning in the night of mundane modernity, calling to those of us who want more than we’ve been sold.

Na Fir Ghorma, which translates from Scottish Gaelic as “the blue men,” referring to mythical, human-sized, blue-skinned creatures in Scottish folklore, is a mysterious, atmospheric intro that warms us up for The Caoineag, a female spirit in Scottish Highland folklore, acting as a “weeper” or specialized banshee that foretells violent death, with Bryan hammering his drums mercilessly in a lecture in Scottish extreme music. Cailleach And The Guardians Of The Seven Stones refers to a deeply rooted Scottish and Irish mythological tradition centered on the Cailleach (the “Veiled One” or “Queen of Winter”) and a ritualistic, seasonal relationship with sacred stones that represent her family, while the music showcases Rene’s striking, primeval riffage matching perfectly with Alan’s soaring vocals; followed by Baobhan Sith, a malevolent, vampiric fairy from Scottish Highlands folklore, often described as a “fairy witch” or “fairy woman,” while the music leans towards classic Folk Metal, with its mysterious female backing vocals sounding simply stunning.

Rene and Bryan build a dancing atmosphere in Am Fear Liath Mòr, translated from Scottish Gaelic as “big grey man”, referring to a legendary, cryptid creature said to haunt the summit and passes of Ben Macdui in the Cairngorms, Scotland’s second-highest peak. Musically speaking, it reminds me of some of the thrilling songs by the mighty UADA; whereas in Alba In My Heart (where “Alba” is the Scottish Gaelic name for Scotland) the band makes sure they add all their admiration and love for their country to the music, with their riffs, drums and roars exhaling pride and power. Address To The Devil – 1786, a satirical poem that mocks the Calvinistic, fear-based religious teachings of 18th-century Scotland by treating the Devil (“Auld Hornie”) as a familiar, almost comedic figure rather than a terrifying entity, presents a more straightforward fusion of Black and Folk Metal led by Alan’s demonic growling, also displaying an ethereal passage with the same mysterious woman back on vocals; flowing into the piano-driven outro The Nine Maidens Of Dundee, a Scottish legend about a farmer’s nine daughters killed by a dragon near Pitempton, subsequently avenged by a hero named Martin.

“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.

Best moments of the album: The Caoineag, Baobhan Sith and Alba In My Heart.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. Na Fir Ghorma 2:28
2. The Caoineag 7:40
3. Cailleach And The Guardians Of The Seven Stones 4:58
4. Baobhan Sith 6:39
5. Am Fear Liath Mòr 4:42
6. Alba In My Heart 7:20
7. Address To The Devil 7:32
8. The Nine Maidens Of Dundee 3:00

Band members
Alan Buchan – vocals
Rene McDonald Hill – guitars, keyboards
Bryan Hamilton – drums

Album Review – Blood Countess / Imperatrix Sanguinis (2026)

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It’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of their scorching sophomore opus.

For nearly a decade now, UK’s own Black Metal beast Blood Countess has waged a war on weakness and mediocrity with a blackened sound strikingly authentic, nothing but the coldest, most merciless of the mid-to-late 90’s the likes of classic Enthroned, Lord Belial, and Thy Primordial. Four years after their critically acclaimed debut Occulta Tenebris, the ruthless frontwoman Nina “The Cuntess” Blackwood and her henchmen István and Átok on the guitars, Darianth on bass, and Michael Robinson on drums return from the underworld with their sophomore spawn, entitled Imperatrix Sanguinis, a Latin phrase that translates directly to “Empress of Blood,” surging forth with a savagery that’s merciless, punishing, and perversely addicting, perfect for those with a staunch, depraved constitution.

Get ready to have all your blood fully drained by The Cuntess in Chains of Misdeed, growling and screaming like a true vampiric entity while Darianth and Michael deliver infernal Black Metal sounds for our total delight, whereas Sadistic Marchioness is even more infuriated and demonic thanks to the ruthless riffage blasted by István and Átok, while Michael continues to hammer his drums without mercy. A Humiliating Plea for the Glorification of Erotic Suffering carries the most poetic name of all songs, and the music is just as infernal and obscure, with The Cuntess continuing to gnarl rabidly for our vulgar delectation; and the band then speed things up and melt our faces with their vile Black Metal magic in The Scavenger’s Daughter, led by Michael’s pulverizing beats and fills.

After the Cradle of Filth-like interlude Shakals of Sin, such a violent UK horde is out for blood again in Purge of Trencin, as demented and grim as its predecessors, with The Cuntess roaring flawlessly supported by the striking riffs by István and Átok, being therefore perfect for enjoying a blood-soaked circle pit during their live shows. Schadenfreude, or the pleasure derived by someone from another person’s misfortune, sees Blood Countess turn that distinguished concept into another feast of raw Black Metal, with Darianth and Michael once again presenting their devilish kitchen from hell; whereas lastly we face Anna Nádasdy, the daughter of the infamous Countess Elizabeth Báthory of Ecsed, with The Cuntess impersonating Anna in great fashion with her desperate, anguished screams, sounding utterly visceral, hypnotizing and disturbing from start to finish.

In a nutshell, Nina “The Cuntess” Blackwood and her Blood Countess remain true to their moniker in Imperatrix Sanguinis, spilling tales of Elizabeth Bathory’s reign of blood-soaked tyranny – obsession, sex, and perversion entwined with madness and hatred for humankind – all led by her invective throat. It’s indeed one of the strongest Black Metal albums of the year, and if you want to join The Cuntess in her quest for blood you can start following the band on Facebook and on Instagram, stream their caustic, impious creations on Spotify, and of course put your blood-soaked hands on the breathtaking Imperatrix Sanguinis by purchasing it from Dominance of Darkness Records’ BandCamp or webstore. In other words, it’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of the mighty Imperatrix Sanguinis.

Best moments of the album: Chains of Misdeed, The Scavenger’s Daughter and Anna Nádasdy.

Worst moments of the album: None.

Released in 2026 Dominance of Darkness Records

Track listing
1. Chains of Misdeed 5:28
2. Sadistic Marchioness 5:03
3. A Humiliating Plea for the Glorification of Erotic Suffering 5:14
4. The Scavenger’s Daughter 3:57
5. Shakals of Sin 2:05
6. Purge of Trencin 6:30
7. Schadenfreude 4:32
8. Anna Nádasdy 5:53

Band members
Nina “The Cuntess” Blackwood – vocals
István – guitars
Átok – guitars
Darianth – bass
Michael Robinson – drums

Album Review – At the Gates / The Ghost of a Future Dead (2026)

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These Melodic Death Metal masters and Gothenburg Sound pioneers are unleashing upon us their striking seventh album, a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg.

Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a dark, minimalist artwork by Robert Samsonowitz, the breathtaking The Ghost of a Future Dead is more than just the seventh studio album by Melodic Death Metal masters and Gothenburg Sound pioneers At the Gates. The follow-up to their 2021 opus The Nightmare of Being has now become a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg, an absolute titan of underground music,  who tragically passed away in September 2025. In the midst of processing such a devastating loss, the remaining members of At the Gates, guitarists Anders Björler and Martin Larsson, bassist Jonas Björler, and drummer Adrian Erlandsson, vowed to complete the musical journey they had been on for the previous 12 months, with Tomas’ blessings and inspirational contributions still ringing in their ears, resulting in another essential part of his brave, fascinating, and inspirational story, and arguably one of the most powerful and emotional albums the band has ever recorded. “If I remember rightly, we had all the lyrics before it was recorded, but we played with the title after he was diagnosed,” said Anders. “So the title reflects his situation, that he might not survive the illness. The working title was The Dissonant Void, but in the spring of 2024, we changed it to The Ghost of a Future Dead. I don’t know if it was like a premonition of what was about to come or anything. But now it’s an eerie title, because he has passed. It makes the title even more real somehow.”

At the Gates waste no time and kick off their rabid feast with The Fever Mask, featuring guest Charlie Storm (Dimmu Borgir, Dragonlord, In Flames) on keyboards, where Tomas screams the song’s words majestically (“Irrevocable howling rapture / Ravenous and foul / All-devouring hallucinations / A purgatorial shroud / Emptiness unbound / Annihilation masked / The labyrinth inside / The fever mask”). Moreover, I love the fact Tomas basically “cheated” death with the release of this album, proving his soul is immortal, and his visceral vocals in The Dissonant Void are simply phenomenal. Det Oerhörda, a Swedish phrase that translates to “the incredible” or “the monstrous” in English, featuring guest Fredrik Wallenberg (Embalmed, Sarcasm, The Lurking Fear) on vocals, starts in a sinister way like a horror movie, boosted by Anders and Martin’s relentless riffs; followed by A Ritual of Waste, a journey back to their early days where Adrian is bestial behind his drums supported by the massive bass lines by Jonas. In Dark Distortion keeps the energy flowing with its fast-paced rhythm in a lesson in Melodic Death Metal made in Sweden; and they definitely want us all to keep the circle pit moving in Of Interstellar Death, with Anders and Martin sounding yet again venomous with their riffage.

Get ready for another majestic melodeath voyage together with Tomas and the boys in Tomb of Heaven, with Adrian showing absolutely no mercy for our souls, hammering his drums like there’s no tomorrow, followed by Parasitical Hive, perhaps the most generic of all songs in the album, not because it’s a weak song but because The Ghost of a Future Dead is truly insane from start to finish. And when a band like At the Gates kicks off a song with an eerie intro you know they’ll smash you like an insect quickly after, which is exactly the case in the high-octane The Unfathomable, spearheaded by another venomous performance by our beloved Tomas on vocals. The Phantom Gospel keeps the level of adrenaline in the album through the roof, with the entire band being on fire armed with their sonic weapons, but of course Tomas steals the spotlight with his infernal growling, whereas Förgängligheten, a Swedish noun that translates to “the impermanence” or “the ephemerality” in English, is a soothing, melancholic interlude that will bring tears to your Heavy Metal eyes before we face Black Hole Emission, a hard hitting tune perfect for concluding Tomas’ undisputed legacy on a high and pulverizing mode. Furthermore, I have no idea if the band has any additional material with his vocals to be released, but if this is his swan song he’s definitely going down in style.

“There’s a legacy surrounding Tomas, especially in Sweden,” commented Anders. “He’s a forefather. He was one of the first people in Gothenburg involved in this scene, and he was an important figure in the tape-trading scene. He was really warm and welcoming to new people. You felt welcome in his presence, somehow. He was super social. He had a lot of friends in a lot of bands around the world. The new album feels like a good, emotional release. To get our last creative moment together out on CD and vinyl, it’s more of an existential thing. The music will speak for itself!” Needless to say, you can pay your tribute to the great Tomas Lindberg by letting the band know how much you love their new album on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing a copy of their amazing new album from the Century Media Records’ BandCamp or webstore, or by clicking HERE. Thank you, Mr. Tomas Lindberg, for making heavy music a much better place, and for leaving us with such a killer album. You’ll never be forgotten. Rest in Power.

Best moments of the album: The Dissonant Void, A Ritual of Waste, Tomb of Heaven and Black Hole Emission.

Worst moments of the album: Parasitical Hive.

Released in 2026 Century Media Records

Track listing
1. The Fever Mask 3:12
2. The Dissonant Void 2:47
3. Det Oerhörda 3:35
4. A Ritual of Waste 3:35
5. In Dark Distortion 3:50
6. Of Interstellar Death 3:45
7. Tomb of Heaven 3:53
8. Parasitical Hive 4:34
9. The Unfathomable 4:07
10. The Phantom Gospel 2:44
11. Förgängligheten 2:41
12. Black Hole Emission 3:39

Band members
Tomas Lindberg – vocals
Anders Björler – guitars
Martin Larsson – guitars
Jonas Björler – bass
Adrian Erlandsson – drums

Guest musicians
Charlie Storm – keyboards on “The Fever Mask”
Fredrik Wallenberg – vocals on “Det Oerhörda”

Album Review – Ural / Anthropic Genetic Involution (2026)

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The wolf beast is once again unleashed, blending full-force Thrash Metal with Crossover adrenaline in their breathtaking new album.

Since 2010, the Turin, Italy-based wolves of Ural have been blending full-force Thrash Metal with Crossover adrenaline and a willingness to step outside the confining boundaries of genre. Mixed and mastered by Davide Billia, and showcasing a killer artwork by Luca SoloMacello, the fulminating Anthropic Genetic Involution is the fourth full-length beast by the band currently formed of vocalist Andrea Calviello, guitarists Alex Gervasoni and Luca Caci, bassist Stefano Cipriano Moliner, and drummer Filippo Torno, a worthy follow-up to their 2023 album Psychoverse, a must-listen for fans of Death Angel, Nuclear Assault, Voivod and Forbidden, among others, and their most ferocious and far reaching opus to date.

Get ready to be caught in a feral mosh to the sound of Extreme Paranoia, led by Andrea’s demented screams and the crushing drums by Filippo, perfect for slamming into the pit like a true beast. Alex and Luca continue to slash their axes in the frantic Break the Fall, inviting us for a Toxic Waltz-like dance in a lesson in Thrash Metal by the boys; followed by God of Lies, again alternating between more melodic moments and sheer thrashing adrenaline, led by Filippo’s killer drumming. Let’s keep this party moving with Wrong Children, where Stefano and Filippo make the earth tremble while Andrea fires his inebriate, rebellious vocals nonstop, and they show no sign of slowing down at all in Open Scars, presenting more of their blend of old school Thrash Metal.

Andrea sounds even more demented in Rat in a Cage, accompanied by the unstoppable riffage by Alex and Luca in a well balanced mix of classic Thrash Metal with Crossover Thrash. Flat Black, originally a jazz composition by renowned trombonist and composer J.J. Johnson featured on his 1961 album A Touch of Satin (and you can check the original version HERE), gets a thrashing twist with Ural, as chaotic as it is classy; and it’s time to get back to their core Thrash Metal insanity in Terror Eyes, inspiring us all to dive deep into the circle pit to the visceral beats and fills by Filippo, flowing into the hard hitting closing tune …to Change Your Vision, with the music fading into oblivion after the band’s striking Thrash Metal feast is over.

Ural have been carving their name into the hearts of thrashers everywhere album after album, and of course the demolishing Anthropic Genetic Involution will continue to pave the band’s path of absolute chaos, rebellion and destruction, always in the name of our beloved Thrash Metal. If you want to show the boys from Ural your absolute respect and admiration, you can start following them on Facebook and on Instagram, stream their demented creations on any available platform like Spotify, and above all that, purchase a copy of the excellent Anthropic Genetic Involution from the Xtreem Music’s BandCamp or webstore. The wolf beast is about to be unleashed, and there’s no place to run or hide from its blood-soaked claws. All you need to do is take a deep breath, get into the mosh pit to the sound of its bestial new album, and get ready to be dilacerated by its infernal thrashing sounds.

Best moments of the album: Extreme Paranoia, Wrong Children and Terror Eyes.

Worst moments of the album: Flat Black.

Released in 2026 Xtreem Music

Track listing
1. Extreme Paranoia 3:17
2. Break the Fall 4:43
3. God of Lies 3:31
4. Wrong Children 4:05
5. Open Scars 3:58
6. Rat in a Cage 3:00
7. Flat Black (J.J. Johnson cover) 3:27
8. Terror Eyes 4:17
9. …to Change Your Vision 2:50

Band members
Andrea Calviello – vocals
Alex Gervasoni – guitars
Luca Caci – guitars
Stefano Cipriano Moliner – bass
Filippo Torno – drums

Album Review – Since the Fire / Remains Embraced EP (2026)

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Get ready to embrace the storm to the sound of the new electrifying EP by these American Metalcore veterans.

Having spent over fifteen years dominating the tri-state metal scene with relentless live performances and a commitment to raw, emotional music, solidifying their position as a force to be reckoned with in the modern metal landscape, Pennsylvania’s own Metalcore veterans Since the Fire are taking their fierce sound to new heights with blistering riffs and bone-crushing breakdowns that fans of August Burns Red, Black Dahlia Murder and Lamb of God will absolutely love in their new EP, titled Remains Embraced. Produced by the band’s own Jeremy Loveland alongside Bryan Kilcommons, and mixed by Anthony Caranata, the new EP by Janson Stewart on vocals, Jeremy Loveland and Jay Johnson on the guitars, Logan Romanowicz on bass, and Brad Borger on drums promises to be an intense sonic experience that captures the raw energy the band is known for, leaving us eager for more of the music in the near future.

Jeremy and Jay kick off the band’s Metalcore attack with their scorching riffs in Cuntrol, a ruthless tune where Janson delivers no shenanigans, vicious roars for our absolute delectation, followed by Noose, which starts in a dark manner to the cryptic bass by Logan and the doom-ish drums by Brad, evolving into a melodic yet violent feast of metal music while keeping its introspective core intact. Janson then barks and roars manically while his bandmates deliver a fusion of total darkness and grim violence in Brutaful, as infernal and piercing as it can be; and the EP comes to a conclusion with Whispers, starting in a serene manner before morphing into eight minutes of hard hitting Metalcore. Needless to say, it should sound amazing if played live, with Janson’s visceral screams matching flawlessly with the wicked riffs and solos by Jeremy and Jay, ending in a post-apocalyptic way.

Pushing their legacy further by melding classic Metalcore aggression with the depth and atmosphere of modern heavy music, the new EP by Since the Fire will surely please all admirers of the genre, and you can also embrace their Metalcore storm by following the band on Facebook and on Instagram, by streaming their music on Spotify, by subscribing to their YouTube channel, and of course by grabbing a copy of Remains Embraced from Bandcamp or by clicking HERE. There’s a reason why Since the Fire have been leading the Metalcore scene for over a decade, and the stormy Remains Embraced surely helps in cementing their name even further in the worldwide scene.

Best moments of the album: Cuntrol and Whispers.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Cuntrol 4:58
2. Noose 5:30
3. Brutaful 5:22
4. Whispers 8:43

Band members
Janson Stewart – vocals
Jeremy Loveland – guitars
Jay Johnson – guitars
Logan Romanowicz – bass
Brad Borger – drums