Category Archives: Album Reviews

Album Review – Element of Fate / Dreamfall (2026)

Posted on by
Reply

This multi-talented American duo is ready to attack armed with their debut album, taking listeners on an unforgettable journey through powerful soundscapes that fuse symphonic, gothic, and progressive elements.

A Symphonic and Melodic Metal duo consisting of vocalist and visual artist Carol Phillips and multi-instrumentalist Scott Loose (of bands like As the Sea Parts, Brave, and Stellar Death), Washington, D.C.’s own Element of Fate are releasing their highly anticipated debut full-length album, titled Dreamfall, taking listeners on an unforgettable journey through powerful soundscapes that fuse symphonic, gothic, and progressive elements. Drawing influence from traditional metal bands, while also leveraging modern recording techniques to craft their unique sound, the duo presents a stunning combination of soaring vocals and dynamic instrumentation in Dreamfall, bringing forward an immersive narrative experience tailored for fans of Nightwish, Amorphis and Epica, just to name a few.

Scott makes sure the atmosphere gets as dark and epic as possible with his riffs and drums for Carol to shine on vocals in Alone in the Dark, reminding me of some of the thrilling creations by the mighty Huntress; whereas investing in a blend of Symphonic and Epic Metal we face Shadow Self, where the striking guitars by Scott walk hand in hand with the witch-like vocals by Carol. Night Winds might be the most theatrical song of the album, alternating between sheer atmospheric moments and bursts of heavy music, always embraced by the deep, emotional vocals by Carol, followed by Dreamfall, the song that carries the name of the album, offering another blast of their ritualistic core sounds with Carol’s vocals clashing in great fashion with Scott’s hammering drums. Whispering Tree fills the ambience with their more introspective sounds, feeling dark and minimalist in a modern take on traditional Symphonic Heavy Metal. Then the metallic bass by Scott kicks off Firebird, another song where melody and darkness intertwine resulting in a truly mystical journey; and be it a standalone single or a bonus track, Warhorse Fire Horse showcases a beautiful, galloping Heavy Metal vibe, with Carol’s deep gnarls feeling utterly devilish.

The multi-talented frontwoman Carol Phillips reflects on the creation of the album, stating, “Dreamfall is the most personal and ambitious project I’ve ever created as an artist,” and you can find more information about Element of Fate on Instagram, stream their music on Spotify, and of course purchase Dreamfall from BandCamp or by clicking HERE. Serving as a fully immersive artistic statement, combining music, visual storytelling, and meticulous world-building into a cohesive experience designed for fans of grand, emotionally resonant metal, Dreamfall is just the first step for Element of Fate, and we can rest assured the duo will provide us with many other excellent albums like their debut in the coming years.

Best moments of the album: Dreamfall and Firebird.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Alone in the Dark 2:41
2. Shadow Self 6:36
3. Night Winds 8:33
4. Dreamfall 5:29
5. Whispering Tree 4:36
6. Firebird 4:24

Bonus track
7. Warhorse Fire Horse 4:04

Band members
Carol Phillips – vocals
Scott Loose – guitars, bass, keyboards, drums

Album Review – Faustian / Parable Of The Sewer (2026)

Posted on by
Reply

The triumvirate of conspirators from Death Metal beast Werewolves returns with the sophomore opus of their even more demonic alter-ego, exploring darker realms in a blaze of blasphemous Black Metal.

A confluence of dire forces, Melbourne, Australia-based ravenous Black Metal horde Faustian brings together perpetrators of horrific sonic assaults, crimes committed under the names of Abramelin, Werewolves, The Berzerker, Psycroptic, The Amenta, The Antichrist Imperium and more. As a matter of fact, they present their music as “unhinged devil-worshipping Black Metal from the members of Death Metal stuporgroup Werewolves,” as the band is formed of the infamous Sam Bean on vocals and bass, Matt Wilcok on the guitars, and David Haley on drums. Having proved time and again their mastery of wildly violent Death Metal as the aforementioned Werewolves, Faustian allow the triumvirate of conspirators to explore darker realms in a blaze of blasphemous Black Metal, culminating now in 2026 with their sophomore beast Parable Of The Sewer, the follow-up to their 2023 debut We Come as Angels, and a must-listen for fans of the demonic savagery blasted by Emperor, Mayhem, Akercocke, and Dark Funeral, just to name a few.

There’s no sign of peace or hope, only absolute chaos and devastation from the very first notes in I Curse You, led by the always demolishing drums by David while Matt fires his most Black Metal riffs of all time. Broken Better, the first single released, brings to our putrid minds and souls a dark, sluggish and sinister sound perfect for Sam’s demonic vociferations, sending shivers down the spines of the faint at heart. Sam continues to roar and bark madly in the poetically titled I Want the Ride to Begin Again, with his primeval bass lines matching perfectly with David’s crushing, unstoppable beats and fills, whereas Immaculate lives up to the legacy of 90’s Black Metal, in special through the scorching riffs by Matt, offering Sam exactly what he needs to deliver his most visceral vocals of the album.

In Cephalophore, the song’s initial cult-like sounds clash with the heaviness blasted by the instrumental parts, evolving into another bestial display of the raw, vile Black Metal insanity; followed by We Do Not Use Names Here, carrying another very poetic and harsh title for a fast and scathing composition by Faustian, hitting us hard in the head while Sam continues to roar manically in the name of violence and darkness. Tenements (Only the Wicked Walk in Circles) is a no shenanigans Black Metal extravaganza spearheaded by Matt’s strident riffs, highly recommended for fans of the mighty Mayhem, while their coup-de-grace comes in the form of The Rot Shall Inherit the Earth, hammering our frail bodies mercilessly, with David sounding like a demented beast behind his drums until the very end.

“If the Werewolves aesthetic is violence, then Faustian’s is fear and horror,” commented Matt Wilcock. Parable Of The Sewer is indeed an album of feral intensity, incendiary violence, unearthly majesty and mystery, fear and temptation. Hence, if you want to join the guys from Faustian is pitch black darkness and show them your total support, you can find them on Facebook and on Instagram, stream their venomous music on Spotify or any other platform, and of course purchase Parable Of The Sewer from their BandCamp or from the Apocalyptic Witchcraft webstore. As Conor Droney, head of Apocalyptic Witchcraft, has neatly offered in succinct summing up, Parable Of The Sewer is a “savage masterpiece from Down Under,” and I bet once you start listening to such a pulverizing album, your mind and soul will be forever doomed.

Best moments of the album: I Curse You, Immaculate and We Do Not Use Names Here.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. I Curse You 4:45
2. Broken Better 5:37
3. I Want the Ride to Begin Again 5:08
4. Immaculate 4:27
5. Cephalophore 5:27
6. We Do Not Use Names Here 6:06
7. Tenements (Only the Wicked Walk in Circles) 4:26
8. The Rot Shall Inherit the Earth 5:46

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – Psicorragia / Nekromanthra (2026)

Posted on by
Reply

This Peruvian Death and Doom Metal entity returns from the underworld with their scorching third offering, exploring the darkest corners of the human species.

Active since 1994, Lima, Peru-based entity Psicorragia (the temporary manifestation of a person’s soul or astral body at a distance from their physical body) has forged a distinctive identity rooted in darkness, combining the weight of Death and Doom Metal with elements and technique from traditional Death Metal, along with Black Metal nuances and influences from other dark genres, establishing themselves as a representative band of the genre in South America. Now in 2026 the band formed of Mario Romanet on vocals and bass, Marco Borra and Alick González on the guitars, Antonio Duncan on keyboards, and Teo Suchero on drums returns from the underworld with their third studio offering, Nekromanthra, ten years after their 2016 sophomore beast Madremuerte. Showcasing a sinister artwork by American artist Thomas G. Anderson (recognized for his Dark Art aesthetic, where cinematic photography and psychological horror converge), the album explores the darkest corners of the human species, immersing itself in landscapes of decay, death, and the deepest horrors of existence.

…Y sus plagas invocaron, or “…and their plagues they invoked” from Spanish, is  already bold, imposing and grandiose, with the haunting background keys by Antonio bringing even more epicness to the dark vociferations by Mario; while Abismales (“abyssal”) continues to spread sheer doom and obscurity upon us, with the lugubrious beats by Teo walking hand in hand with the crying, visceral guitars by Marco and Alick. The atmosphere gets darker and more menacing as the music progresses in Lo inexorable (“the inexorable”), with their guitars once again transpiring pure Funeral Doom Metal magic, followed by Sombras luminosas (“luminous shadows”), where a grim intro morphs into a Death and Doom Metal beast led by Teo’s crushing drums, while Mario keeps growling like a demonic entity. La osamenta (“the skeleton”) offers us all nine minutes of despair, melancholy and doom while Mario darkly declaims the song’s venomous words accompanied by the phantasmagorical keys by Antonio; and lastly,  a ritualistic start evolves into the most funereal song of the album, titled Nekromanthra, el meditar de los fúnebres (“Nekromanthra, the meditation of the funereal”), putting a vile, soul consuming ending to the album.

With Nekromanthra, the band delves even deeper into their darkest vision, expressed through six tracks infused with Death and Doom Metal, being therefore highly recommended for fans of the obscure music blasted by renowned acts the likes of My Dying Bride, Anathema, Katatonia, Paradise Lost, and Moonspell, as well as more extreme bands such as Varathron, Rotting Christ, Acheron, Edge of Sanity, Mystifier, Abysmal Grief, and Unholy. You can find more details about the band on Facebook and on Instagram, stream their music on any platform such as Spotify, and of course purchase Nekromanthra from their own BandCamp or from the Satanath Records’ BandCamp. It’s time to dive deep into the darkest side of humanity, and there’s nothing better than the new album by Psicorragia as the soundtrack to such a disturbing journey.

Best moments of the album: …Y sus plagas invocaron and Sombras luminosas.

Worst moments of the album: None.

Released in 2026 Satanath Records

Track listing
1. …Y sus plagas invocaron 8:49
2. Abismales 7:19
3. Lo inexorable 6:17
4. Sombras luminosas 7:39
5. La osamenta 8:58
6. Nekromanthra, el meditar de los fúnebres 6:01

Band members
Mario Romanet – vocals, bass
Marco Borra – guitars
Alick González – guitars
Antonio Duncan – keyboards
Teo Suchero – drums

Album Review – Psycroptic / The Pulse of Annihilation (2026)

Posted on by
Reply

These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.

For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.

Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.

David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.

“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.

Best moments of the album: Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.

Worst moments of the album: None.

Released in 2026 Metal Blade Records

Track listing
1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43

Band members
Jason Peppiatt – vocals
Jason Keyser – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

Album Review – Eaten By Sharks / The Undertow Of Hate (2026)

Posted on by
Reply

This Canadian Technical Death Metal sea beast returns from the ocean depths with their sophomore album, a dark conceptual journey rooted in nautical horror and psychological collapse.

Blending Technical and Progressive Death Metal with technical precision, crushing grooves, and Deathcore aggression, St. Catharines, Ontario’s own rising force Eaten By Sharks continues to evolve from the sound established on their 2022 release Eradication with their newborn spawn, entitled The Undertow Of Hate, embracing a more composition-focused and cinematic approach by crafting a dark conceptual journey rooted in nautical horror and psychological collapse. Recorded, mixed and mastered by Christian Donaldson, and displaying another killer artwork by Paolo Girardi, the new album by Matt Sherriff on vocals, Chris Chaperon and Dan Okowinsky on the guitars, Tyler Abrams on bass, and Justin Whitehead on drums offers us mere mortals a devastating blend of Deathcore, slam, and modern Extreme Metal intensity, becoming therefore a must-listen for fans of Fit For An Autopsy, Gojira and Cattle Decapitation, just to name a few.

The piercing guitars by Chris and Dan invite us all to dive deep into the unruly waters of The Undertow Of Hate in Vessels Torn, with Matt screaming and gnarling like a demented creature until the very end; while In Tidal Chaos starts in a sinister way before all hell breaks loose to the massive beats by Justin and the rumbling bass by Tyler in a lecture in Technical Deathcore. Capsized sounds even heavier and more demented, with Matt’s deep guttural reeking of classic Death Metal, supported by the always technical and venomous guitar work by Chris and Dan; and let’s enjoy several bodies slamming into the pit to the sound of Bodies Overboard, with Justin hammering his drums nonstop, consequently bringing even more heaviness and violence to their music.

Their Technical Death Metal vein pulses harder than ever in Treading Water, with the visceral roars by Matt walking hand in hand with the intricacy and hatred blasted by his bandmates, followed by Dragged Under, which keeps the momentum going with an explosion of absolute violence by all band members, all boosted by the groovy kitchen crafted by Tyler and Justin. Becoming Chum is definitely less electrifying than its predecessors, albeit still very aggressive and showcasing the band’s trademark sound; and the band will drag us 10,000 meters deep to the multi-layered, very technical and demonic Crimson Tide, where their striking riffage offers Matt exactly what he needs to vociferate like a creature from the deep, flowing into the cinematic outro Surfaced Remains, where you can smell the blood of the fallen on their shark-infested waters.

With a commitment to high-quality production and engaging storytelling, Eaten By Sharks are poised to leave a lasting impact on the genre with the release of The Undertow Of Hate, an album built around transformation, destruction, and irreversible change at sea. You can find those subaquatic death dealers on Facebook, on Instagram and on YouTube, stream their visceral creations on any platform like Spotify and Apple Music, and of course purchase their awesome new album from Bandcamp or from CDN Records. Just like an aggressive shark at sea, Eaten By Sharks can smell your blood from a very far distance, and once they capture with their Technical Death Metal and Deathcore jaws to the sound of their new opus, there’s no way out.

Best moments of the album: In Tidal Chaos, Treading Water and Crimson Tide.

Worst moments of the album: Becoming Chum.

Released in 2026 CDN Records

Track listing
1. Vessels Torn 4:43
2. In Tidal Chaos 4:36
3. Capsized 3:36
4. Bodies Overboard 3:53
5. Treading Water 3:40
6. Dragged Under 3:42
7. Becoming Chum 4:25
8. Crimson Tide 4:03
9. Surfaced Remains 1:26

Band members
Matt Sherriff – vocals
Chris Chaperon – lead guitar
Dan Okowinsky – guitar
Tyler Abrams – bass
Justin Whitehead – drums

Album Review – Niveous / Cult of the Void Star (2026)

Posted on by
Reply

As a vast monolith from deep space crashes into Earth, this uncanny horde offers us all a scathing dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

When a vast monolith from deep space crashes into Earth and plunges the planet into a new ice age, a fanatical cult devoted to a timeless entity known as the Void Star rises amid the apocalyptic chaos. That’s the plot behind the excellent Cult of the Void Star, the first full-length opus by Milwaukee, Wisconsin-based Black Metal horde Niveous, following up on their 2025 debut EP Endless Snowfall. Recorded, engineered, and mixed by Shane Hochstetler at Electrical Audio, mastered by Arthur Rizk, and showcasing a cryptic artwork by Nortaath and Will Kramer (with logo by Luciferium War Graphics), the new offering by Vokar on vocals and bass, Nortaath on vocals and drums, and Zygrath on the guitars is a scathing, breathtaking dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

The band’s cold and Stygian Black Metal attack begins in full force with Harbinger of the Void Star, where Nortaath hammers his drums in the name of darkness while their evil vociferations are simply stunning, followed by Servants of the Monolith, featuring a guest guitar solo by Joe Michaelson, resulting in another cryptic creation by such an uncanny horde, with the visceral riffs and tones blasted by Zygrath’s axe transpiring Black Metal magic. Then with guest vocals by Jake Rogers of Visigoth, Frostborne Resistance already kicks off with endless savagery, obscurity and rage, with Vokar and Nortaath doing a phenomenal job not only with their demonic roars and gnarls, but their rumbling bass and drums also sound inhumane. Then a horror movie-like intro explodes into total insanity in Baptism of Shadows, with Zygrath taking care of the vocal duties; followed by Northbound, presenting elements of caustic Punk Rock and Rock N’ Roll added to their core Black Metal sound, with the strident guitar lines by Zygrath sending shivers down our spines. And lastly, Boreal Stronghold is one final Black Metal attack by the trio, ending the album on a high note to the crushing drums by Nortaath.

As Earth is consumed by black storms and endless blizzards, and as the world is reduced to a frozen wasteland, Niveous are among us all to spread their bitterly cold Black Metal madness and consume our darkened souls with the scathing music found in Cult of the Void Star. Hence, if you want to explore their frostbitten realm you can find those American black metallers on Facebook and on Instagram, stream their venomous creations on Spotify or any other platform, and above all that, purchase their new album from their own BandCamp or from the Hypnotic Dirge Records’ BandCamp or webstore as a CD or an LP. Black Metal is always better when served cold, exactly like what Niveous have to offer in the intense and thrilling Cult of the Void Star, embracing us in absolute, frostbitten darkness for all eternity.

Best moments of the album: Harbinger of the Void Star and Northbound.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. Harbinger of the Void Star 7:25
2. Servants of the Monolith 5:57
3. Frostborne Resistance 6:28
4. Baptism of Shadows 6:53
5. Northbound 6:40
6. Boreal Stronghold 5:33

Band members
Vokar – vocals, bass
Nortaath – vocals, drums
Zygrath – guitars, vocals on “Baptism of Shadows”

Guest musicians
Joe Michaelson – guitars solo on “Servants of the Monolith”
Jake Rogers – clean and choir vocals on “Frostborne Resistance”
Nicholas Elert – synthesizers and orchestrations on “Baptism of Shadows”

Album Review – Ethereal Rot / Ethereal Rot (2026)

Posted on by
Reply

This Blackened and Technical Death Metal supergroup is unleashing upon humanity their debut opus, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually.

A Blackened and Technical Death Metal supergroup formed in 2021 from seacoast Maine and New Hampshire comprised of former members from The Last King, Sawtopsy and Sonic Pulse, the unrelenting Etheral Rot are unleashing upon humanity their highly anticipated self-titled debut album, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually. Having already released the EPs Until Existence Is Diminished Entirely (2020) and Cadaverine Skies (2023), the band currently formed of Cody Moreau on vocals, Dan Train and Brett Horton on the guitars, Taylor Belanger on bass, and Duncan Fosnough on drums brings their vision to life in their debut full-length album, leaving us eager for more of their music in a not-so-distant future.

The Beckoning Contagion starts in a serene, almost ethereal manner before morphing into a tech death beast led by the piercing guitars by Dan and Brett while Cody delivers demonic shrieks and roars nonstop, whereas That Which Dwells already kicks off in sheer violence and adrenaline, with Duncan taking the lead with his intricate yet visceral beats and fills in a lecture in Technical Death Metal. The following tune, titled Ophidian Womb, is as demented as its predecessors, with the vile gnarls by Cody walking hand in hand with the guitar madness blasted by Dan and Taylor, while Festum Terrae (a Latin phrase that translates to “Festival of the Earth” or “Feast of the Land”) sounds even heavier and more obscure, again presenting the thunderous, ruthless kitchen by Taylor and Duncan. Then after the wild and atmospheric instrumental interlude Transversing the Cosmic Plains, we face the closing aria Into the Naught, where all band members are on absolute fire, in special Duncan behind his drums, while Cody’s deep guttural add an extra dosage of insanity to their first-class Death Metal attack.

If you want to know more about this dark creature from the underworld, their music, tour dates and so on, you can find Ethereal Rot on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, put your blood-soaked hands on their striking debut by purchasing it from BandCamp or by clicking HERE. Diving into space, H.P. Lovecraft and cosmic horror, the first ever full-length offering by Ethereal Rot is crafted for all fans of heavy music, especially those who enjoy the likes of Cattle Decapitation, Suffocation and The Zenith Passage, positioning the band as one of the must-listen names of the current scene. Not only that, Ethereal Rot is 100% independent, and they’re already planning to record the follow-up to their debut over the winter of 2027, showing us all that those guys are not fooling around when it comes to heavy music and, therefore, confirming we won’t need to wait for too long to enjoy another blast of their metallic and cosmic horror.

Best moments of the album: That Which Dwells and Into the Naught.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. The Beckoning Contagion 3:57
2. That Which Dwells 7:12
3. Ophidian Womb 7:46
4. Festum Terrae 6:16
5. Transversing the Cosmic Plains 5:44
6. Into the Naught 8:45

Band members
Cody Moreau – vocals
Dan Train – guitars
Brett Horton – guitars
Taylor Belanger – bass
Duncan Fosnough – drums

Album Review – Carbon Tomb / Passage to a Neutron Star (2026)

Posted on by
Reply

A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, this Danish creatures are ready to unleash chaos with their debut studio album.

“Reborn from the bog
Caesarean execution of the womb
In worship returning to the carbon tomb”

A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, Denmark’s own Death Metal/Deathcore creature Carbon Tomb is ready to unleash chaos with their debut studio album, titled Passage to a Neutron Star. Showcasing a dystopian, futuristic artwork by world renowned artist Jon Toussas (Graphic No Jutsu), the debut opus by vocalist and guitarist Richardt (of the also amazing band Dysgnostic), vocalist and bassist Jeppe, and drummer Mikael presents songs that are highly structured and coherent, emphasizing the right moments, and are also comparatively more varied than normal. Without contradicting the sound, they even infuse Black Metal elements into some of the songs, rendering it diverse and interesting.

A sinister piano invades our minds before all hell breaks loose in the opening track Chanting Spells I, with their dissonant riffs and gruesome roars sounding utterly haunting, whereas the visceral guitar lines by Richardt permeate the air in the infuriated A Hidden Creature, while the same Richardt  and Jeppe deliver a Mephistophelian dual vocal attack. From the Giant’s Snout sounds even more dissonant and experimental, where their Death Metal and Deathcore sides clash beautifully, offering us all a monstrous sonority; and they continue to crush our damned souls in The Dog Hunter, led by the intricate yet demonic drumming by Mikael. After such an intense song we have Of God’s Neglect, another very experimental and multi-layered tune by the trio, with their harsh vociferations walking hand in hand with the crushing drums by Mikael.

Gogoffmagog is perhaps the most violent and aggressive of all songs, with their Death Metal essence burning brighter than a thousand suns, not to mention the deep roars by Jeppe sound venomous; and Tritons of Ichthyology sounds as detailed as its predecessors, with the scathing guitar work done by Richardt adding a Black Metal touch to their core sound while Mikael keeps hammering his drums nonstop. Reversed Head Renewal is one more good song by the trio, albeit not as exciting as the others (which, if I’m being honest, is a very difficult task). It’s still violent and technical, of course. And lastly, Passage to a Neutron Star is the epitome of their blend of Dissonant, Technical and Progressive Death Metal, demolishing our senses with their ruthless riffs, bass lines and drums, therefore ending the album in a majestic way.

As an interpretation of a style generally considered complex or inscrutable, Passage to a Neutron Star is surprisingly fluid, entertaining, and memorable, therefore appealing to admirers of the insanity blasted by names like Ulcerate, Dysgnostic, Devenial Verdict, Artificial Brain, and Mors Verum, among others torchbearers of Dissonant Death Metal arts. Furthermore, Carbon Tomb might be a new band, but its members are already seasoned musicians of the always exciting Danish scene, and if you want to know more about them you can find the band on Facebook, on Instagram, and on Spotify, and purchase their striking debut from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Having said all that, are you ready to return to the carbon tomb while enjoying the breathtaking Dissonant Death Metal by such an up-and-coming band hailing from stunning Denmark?

Best moments of the album: A Hidden Creature, Gogoffmagog and Passage to a Neutron Star.

Worst moments of the album: Reversed Head Renewal.

Released in 2026 Transcending Obscurity Records

Track listing
1. Chanting Spells I 2:49
2. A Hidden Creature 4:00
3. From the Giant’s Snout 3:21
4. The Dog Hunter 4:21
5. Of God’s Neglect 5:50
6. Gogoffmagog 1:53
7. Tritons of Ichthyology 4:29
8. Reversed Head Renewal 4:31
9. Passage to a Neutron Star 3:10

Band members
Richardt – harsh vocals, guitars
Jeppe – harsh vocals, bass
Mikael – drums

Album Review – Black Sites / For Eternity (2026)

Posted on by
Reply

This American Progressive Thrash and Heavy Metal quartet is stepping into their next chapter with the release of their rockin’ fifth full-length offering.

Founded in 2016 initially as a studio project, but having evolved into a full-bodied band based out of Chicago, Illinois, the excellent Progressive Thrash/Heavy Metal quartet Black Sites is stepping into their next chapter now in 2026 with the release of their fifth full-length offering, titled For Eternity, following up on The Promised Land?, released in 2024. Produced by the band’s own vocalist and guitarist Mark Sugar and new drummer Chris Black, recorded at I Can’t Believe It’s Not Mace Street Studios (with drums recorded by Vladimir Ružičić at Kebac Recording Studio), and mixed and mastered by Dan Swanö at Unisound, the new album by the aforementioned Mark Sugar and Chris Black alongside newcomers Lee Smith on the guitar and Jose Salazar on bass showcases a development in the band’s sound and sees the new members’ contributions enhance the music’s sonic quality, always inspired by traditional Heavy Metal.

When It Calls sounds epic and captivating from the very first notes, with Mark showcasing all his vocal potency while his bandmates craft a strong Iced Earth-like sound, while Aquarius Betrayed reflects the frustration at the contradiction towards previous generations who reaped the benefits of the most socially liberated and progressive era in history, and then quickly turned their back on those values when they became inconvenient, with their guitars exhaling that frustration while Chris hammers his drums with anger and dexterity. Then their Progressive Metal feast goes on in full force with Above Soil, Beneath Sky, with Jose and Chris crafting a reverberating, massive kitchen; followed by Giving Up The Ghost, a song about the faltering of one’s belief, venturing through Stoner Rock and Metal lands while again showcasing a classy guitar work by Mark and Lee.

Blades (For The Chosen Ones) presents elements from the music by renowned acts the likes of Armored Saint and Iced Earth while keeping their core progressiveness intact; whereas Silent Wars, which concept derives from a quote by Robin Williams that says “everyone you meet is fighting a battle you know nothing about,” offers classic Hard Rock straight in your face. When Prophecy Fails, taken from a book of the same name, which describes a UFO cult that existed in Chicago in the 1950’s, is by far the most Heavy Metal of all songs thanks to the kickass riffs by Mark and Lee. Lastly, we face Unanswered For Eternity, a dark, gloomy and pensive ballad, ending the album on a high note, with the melodic vocals by Mark matching perfectly with their soulful solos.

Combining old school heavy music with guitar harmonies, melodic and clean vocals, and progressive elements, primarily drawing inspiration from the likes of Voivod, Black Sabbath, and King’s X, the indomitable rockers of Black Sites are on absolute fire from start to finish in their new album For Eternity, which can be purchased from their BandCamp. Don’t forget to also give them a shout on Facebook and on Instagram, staying up to date with all things Black Sites, to subscribe to their YouTube channel, and to stream their rockin’ tunes on any available platform like Spotify. Because heavy music is eternal, and it’s bands like Black Sites who are among us all to make sure it will never die.

Best moments of the album: Aquarius Betrayed, Blades (For The Chosen Ones) and When Prophecy Fails.

Worst moments of the album: Silent Wars.

Released in 2026 Independent

Track listing
1. When It Calls 5:09
2. Aquarius Betrayed 5:05
3. Above Soil, Beneath Sky 4:47
4. Giving Up The Ghost 6:43
5. Blades (For The Chosen Ones) 4:51
6. Silent Wars 4:51
7. When Prophecy Fails 5:49
8. Unanswered For Eternity 6:54

Band members
Mark Sugar – vocals, guitar
Lee Smith – guitar
Jose Salazar – bass
Chris Black – drums

Album Review – Cranial Osteotomy / Vortex Of The Dark Knowledge (2026)

Posted on by
Reply

Fourteen years in the making and a full fifteen years since their debut album, this Russian Brutal Death Metal force returns with their sophomore offering, an irresistible, unstoppable surge of soul devouring power.

Fourteen years in the making and a full fifteen years since their debut album Victim Of Wicked Sickness was released, Omsk, Russia-based Brutal Death Metal force Cranial Osteotomy is finally releasing their sophomore beast, entitled Vortex Of The Dark Knowledge, an irresistible, unstoppable surge of soul devouring power that will shatter your body and haunt the hidden chambers of your mind. Mixed and mastered at Impulse Studios and Gravestone Studios, and adorned by a hellish artwork by Marco Hasmann (Kraanium, Fleshgod Apocalypse, Vile), the new album by Vad Moskalenko on vocals and guitar, Vladimir Pomytkin also on the guitar, Vitaliy Sturk on bass, and Vladislav Melnik on drums is destined to be one of the heaviest releases of the year, a decimating assault of guttural chaos, ritual, invocation, nightmares and death.

The beyond sinister intro Praecursor sets the stage for the band to pulverize us all in Thanatomorpheus, led by the massive, no shenanigans drums by Vladislav while Vad keeps barking like a true beast in the name of brutality. Hideous Monument of Ambrosial Pulchritude sounds even more demented and vibrant, with the guitars by Vad and Vladimir transpiring classic Death Metal, and their demolishing feast goes on in full force in Dipping into Sombre Quagmire, with Vladislav once again pounding his drums manically. Needless to say, there’s no sign of the quartet slowing down at all, offering our putrid ears more of their blend of Brutal Death Metal insanity in the form of Structures of Decadence Impurity.

With a name like Cathedral Butchery Feast it was obvious the music was going to be absolutely brutal from start to finish, with Vad’s guttural sounding insanely inhumane; while Divine Desecration keeps the atmosphere as gory and violent as it can be, again presenting a demented performance by Vladislav on drums. Then the classic initial beats by Vladislav ignite another infernal circle pit in Obscenity Aeon, with the guitars by Vad and Vladimir exhaling hatred and gore, whereas the excellent title-track Vortex of the Dark Knowledge presents a sound in the vein of the mighty Organectomy and Devourment, putting us all to dance in a cesspool of blood. And get ready for one final blast of slamming brutality by the band titled Scorched Diadem, with Vitaliy pounding his bass in the best Death Metal style until the very end.

Highly recommended for admirers of the absolute brutality blasted by renowned acts the likes of Suffocation, Condemned, Skinless and Internal Bleeding, just to name a few, you can find more information about the guys from Cranial Osteotomy on Facebook and on VKontakte, including their punishing live concerts, stream their sonic savagery on any platform like Spotify, and of course purchase their demented sophomore album from Comatose Music’s BandCamp or webstore. It’s been an undeniably long wait, no doubt about that, but you’ll be too busy screaming to worry about that when Vortex Of The Dark Knowledge drags you inexorably into its maelstrom of madness.

Best moments of the album: Hideous Monument of Ambrosial Pulchritude, Cathedral Butchery Feast and Vortex of the Dark Knowledge.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Praecursor 0:46
2. Thanatomorpheus 3:46
3. Hideous Monument of Ambrosial Pulchritude 3:03
4. Dipping into Sombre Quagmire 3:31
5. Structures of Decadence Impurity 3:08
6. Cathedral Butchery Feast 3:37
7. Divine Desecration 3:17
8. Obscenity Aeon 2:57
9. Vortex of the Dark Knowledge 3:31
10. Scorched Diadem 4:06

Band members
Vad Moskalenko – vocals, guitar
Vladimir Pomytkin – guitar
Vitaliy Sturk – bass
Vladislav Melnik – drums