Category Archives: 2025 New Releases

Album Review – Spades GT / United (2025)

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This Canadian brigade is ready to save rock music with the incendiary fusion of Crossover Thrash, Hardcore and Punk Rock found in their sophomore album.

Hailing from the charming Barrie, a city in Central Ontario, Canada, about 90 kilometers north of Toronto, the up-and-coming sonic brigade known as Spades GT is ready to save rock music with the incendiary fusion of Crossover Thrash, Hardcore and Punk Rock found in their new album, titled United. Produced by Kyle Marchant at Room 21 Sound in Toronto, the follow-up to their 2024 debut Sewer City Radio sees the band currently formed of John Pierce on vocals, Matt Voros and Dan Horton on the guitars, Sean Macnab on bass, and Tyler Reiner on drums on absolute fire, inspiring us all to slam into the pit to its eight hard-hitting compositions in a resonant exploration of connection and unity, examining diverse perspectives and scenarios from the deeply interpersonal to broader political landscapes.

The quintet wastes no time and kicks off their Rock N’ Roll party with Anthem, led by the pounding drums by Tyler and the classic, soaring vocals by John, not to mention how incendiary the riffs by Matt and Dan sound, followed by the electrifying title-track United, where the band unites the heaviness of metal music with the rebelliousness of Hardcore and Punk Rock, and the final result is perfect for some crazy mosh pit action. Tyler keeps hammering his drums in Demons, while Matt and Dan deliver an overdose of adrenaline through their stringed axes, and Filthy Lie is a song that’s more than perfect for hitting the road with your loved ones, for enjoying it while going skateboarding, and of course for showing the band your horns during their live concerts.

Game for Two then blends the sounds blasted by giants like Motörhead, The Exploited and Rancid, with Tyler taking the lead behind his drums in a frantic rock and punk extravaganza; whereas the last batch of songs features some very special guest musicians, starting with guest vocals by Andrew Moorehouse of The Fast Life in Wrecked, even faster than its predecessors. Needless to say, it should sound amazing if played live. Strong, featuring a rap verse by guest Julien “Mersinary” Santos of Reel Wolf, is another furious, heavy-as-hell tune by Spades GT, with the vocals by John exhaling sheer adrenaline, and lastly, featuring former second guitarist Jay Sarrazin, we have the flammable Die on Our Feet, closing the album on a high and vibrant Rock N’ Roll note.

John, Matt, Dan, Sean and Tyler are among us to save Rock N’ Roll, and the music found in their new album United proves they’re in the right path to reach their undisputed goal, combining hard-hitting riffs, driving rhythms, and compelling vocals to create a sound that’s both familiar and refreshingly contemporary. Hence, you should give those hardworking Canadians a shout on Facebook and on Instagram, keeping an eye on their live performances, subscribe to their official YouTube channel, stream their new album in full on Spotify or on other major streaming platforms, or simply click HERE for all things Spades GT. Those five talented musicians are united in the name of Rock N’ Roll throughout the 27 minutes of music found in their new album, and you won’t regret joining them and headbanging to their melodic and very aggressive sounds.

Best moments of the album: United, Filthy Lie and Wrecked.

Worst moments of the album: None.

Released in 2025 Sewer City Records

Track listing
1. Anthem 2:39
2. United 3:49
3. Demons 3:03
4. Filthy Lie 3:25
5. Game for Two 3:39
6. Wrecked 3:14
7. Strong 3:33
8. Die on Our Feet 3:29

Band members
John Pierce – lead vocals
Matt Voros – guitar, backing vocals, lead vocals on “Filthy Lie”
Dan Horton – guitar
Sean Macnab – bass
Tyler Reiner – drums

Guest musicians
Andrew Moorehouse – vocals on “Wrecked”
Julien “Mersinary” Santos – vocals on “Strong”
Jay Sarrasin – guitars on “Die on Our Feet”

Album Review – Kratornas / God of the Tribes (2025)

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This Canada-based Black Metal entity returns from the underworld with its highly anticipated fourth studio album, representing a significant shift in its approach by focusing on build-up and atmosphere.

Originally a three-piece band, but only for a short time in early 1995 when the project was still located in Cadiz, Western Visayas, in the Phillipines, the now Saskatchewan, Canada-based Black Metal creature Kratornas is set to unleash hell on earth with God of the Tribes, the fourth studio album in their career, and the follow-up to their 2016 opus Devoured by Damnation. Mastered by Dan Swanö at Unisound, and displaying a striking artwork that perfectly complements the thematic elements of the record (drawing heavily from apocalyptic imagery and ritualistic concepts), the newborn spawn by the iconic Zachariah on vocals, guitars and bass, supported by GB Guzzarin on drums, is unlike any of the previous Kratornas releases known for their superfast brutality, representing a significant shift in their approach by focusing on build-up and atmosphere, therefore showcasing a significant evolution in their sound.

Zachariah’s devilish, Stygian feast begins in a beyond haunting manner in Cursed Sky Serpent, a 15-minute behemoth from the netherworld in the form of primeval Black Metal, sounding very experimental and dissonant until the very end while always supported by the wicked beats and fills by GB Guzzarin. Then after such a multi-layered aria, Zachariah offers us all the three-minute beast titled Evil and Plunder, where his guitar lines and bass sounding utterly demonic while also exploring new sounds and nuances. Ravaged by Hurakaan blends elements from Dissonant Death Metal to the project’s core sonority, with the beats and fills by GB Guzzarin enhancing the song’s insanity to a whole new level; whereas lastly we face another long and detailed song titled Novena para Guerra, and that’s when Zachariah truly thrives, blasting wicked guitar lines, metallic bass jabs and inhumane roars for our total delight.

“This album marks a turning point for Kratornas. Not because it tries to be ‘different’ but because it couldn’t have come out any other way. Every part of this release came together naturally. The sound, the pacing, the tension… it wrote itself, shaped by instinct and intention. This album is unlike the usual Kratornas so to anyone expecting it to sound like ‘early Kratornas’ will be disappointed,” commented the project’s heart and soul Zachariah, and if you have what it takes to face him and his Kratornas, you can find the project on Facebook, stream all of their sulfurous creations on Spotify, and of course grab a copy of God of the Tribes from BandCamp. But be warned that Kratornas is definitely not an easy listen for the average metalhead, it doesn’t matter if it’s the project’s more visceral old material, or if it’s the darkly atmospheric sounds found in the new album. Kratornas will forever bring forth a primeval form of Black Metal, darkening our thoughts and minds while at the same time preparing us all for our inevitable end.

Best moments of the album: Cursed Sky Serpent and Novena para Guerra.

Worst moments of the album: None.

Released in 2025 Grathila Records

Track listing
1. Cursed Sky Serpent 15:00
2. Evil and Plunder 3:00
3. Ravaged by Hurakaan 7:00
4. Novena para Guerra 11:00

Band members
Zachariah – vocals, guitars, bass
GB Guzzarin – drums

Album Review – Visitant / Rubidium (2025)

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A newborn Blackened Death Metal beast from Florida is ready to kill to the sound of their debut offering, embodying the bleakest parts of being human.

Formed in February 2022 in Pensacola, Florida, in the United States by guitarist Taylor Tidwell (Unaligned, Withered Throne) and vocalist Chelsea Marrow (Voraath, The Monster Factory), Visitant are a Blackened Death Metal band that weaves ethereal elements into a soundscape that is as haunting as it is aggressive. Lyrically and musically, the band crafts immersive dreamscapes, ritualistic and unrelenting, that channel the essence of restless, vengeful spirits. Recorded by Taylor Tidwell and Anthony Lusk-Simone, produced and mixed by Anthony Lusk-Simone, mastered by Jason Fisher at Exitus Stratagem Records, and displaying a stylish artwork by Chelsea Marrow (with layout and logo by Maxwell Aston), Rubidium is the debut album by the aforementioned Taylor Tidwell and Chelsea Marrow alongside bassist Kilian Duarte (Abiotic, Lattermath, Felix Martin, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic), embodying the bleakest parts of being human while dealing with the darkest emotions such as grief, loss, betrayal, vengeance, time lost, and regret.

Chelsea already showcases all her vocal depth and rage in the opening tune Unworldly, an imposing Black Metal aria where Anthony’s pounding drums and background orchestrations sound absurdly heavy, followed by Briars, offering another whimsical, atmospheric start to the band’s minimalist sounds before Taylor and Killian fire piercing, monumental sounds from their axes supported by the Black and Death Metal drumming by Anthony. Visitant then bring to our avid years another avalanche of cinematic and obscure sounds in Starless, where Chelsea’s gnarls walk hand in hand with Anthony’s drums, followed by the demolishing Rubidium, keeping the atmosphere as heavy and dense as possible. In Fodder, Chelsea keeps screaming the song’s devilish words (“A cold eclipse / An opening amidst flame / Your being, engulfed / I never thought I’d see your face beyond the light”) while her bandmates generate the most sulfurous and evil Blackened Death Metal sound imaginable. Then blasting a gripping fusion of Symphonic Black Metal with Post-Black Metal elements we have Envies Lament, with the riffage by Taylor sounding acid and vile; and last but not least, we face one final Black Metal attack by the quartet entitled Moon Bathe, with Taylor stealing the spotlight with his infernal, caustic riffage.

In a nutshell, fans of Gojira, Opeth, Naglfar, and Between the Buried and Me will certainly have a blast with the visceral experience that transcends genre boundaries offered by Visitant in Rubidium, placing the band under the radar of most metalheads across the world who enjoy a solid and professional fusion of aggressiveness, violence, harmony, obscurity and rage. You can get more details about this up-and-coming horde hailing from Florida by following them on Facebook and on Instagram, keep an eye on their official videos on their YouTube channel, stream their music on Spotify, and of course purchase a copy of their flammable debut by clicking HERE. Chelsea, Taylor & Co. are summoning a beast from the abyss in their first ever full-length offering, darkening the skies and haunting our souls mercilessly and, therefore, already getting us all hyped for whatever comes next in their exciting career in the upcoming years.

Best moments of the album: Unworldly, Fodder and Envies Lament.

Worst moments of the album: None.

Released in 2025 Exitus Stratagem Records

Track listing
1. Unworldly 4:48
2. Briars 5:20
3. Starless 5:07
4. Rubidium 5:24
5. Fodder 4:37
6. Envies Lament 4:56
7. Moon Bathe 2:38

Band members
Chelsea Marrow – vocals
Taylor Tidwell – guitars
Kilian Duarte – bass
Anthony Lusk-Simone – drums, orchestration

Album Review – Vindicator / Whispers of Death (2025)

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It’s thrash or be thrashed to the sound of the new album by these Cleveland, Ohio-based Thrash Metal torchbearers.

Known for their firebranded approach to songwriting and relentless energy, Cleveland, Ohio-based Thrash Metal torchbearers Vindicator are gearing up for the release of Whispers of Death, the band’s fifth and most destructive full-length album, following up on their 2021 opus Communal Decay. Produced, engineered and mastered by Ben Bennett at Chop Daddy Ranch, and displaying a thrashing artwork by Frank Walls, the new offering by M. Law on vocals, B. Zahn and V. Stown on the guitars, E. Stephens on bass, and G. Monturi on drums is an album that’s definitely true to the band’s roots, being highly recommended for admirers of the violence blasted by bands the likes of Havok, Lich King, Violator, and Megadeth.

The caustic riffs by B. Zahn and V. Stown will drag you to the circle pit in Whispers of Death… Anxiety’s Grip, a pure old school Thrash Metal feast tailored for diehard fans of the genre, and G. Monturi puts the pedal to the metal in Charnel Pastures, turning the song into a hurricane of blast beats, rage and sheer aggression. Then a name like Thirst For Violence demands absolute hatred and animosity, and that’s exactly what the band offers us all, with the demented gnarls by M. Law exhaling Thrash Metal. Then B. Zahn kicks some serious ass with his incendiary riffs and solos in Your World Dies In Flames, another frantic creation by those headbanging bastards, and the band shows no sign of slowing down at all in Exhaustion, with G. Monturi crushing his drums without a single drop of mercy until the very last second.

After that, the instrumental piece Novocain warms us up for Bleed Between The Lines, where the band offers an overdose of pure Thrash Metal led by the venomous gnarls and barks by M. Law. Then in Merry Evenings Make Sad Mournings the entire band is on absolute fire, putting the pedal to the metal and inviting us all to slam like true beasts; whereas M. Law’s vocals sound even more inebriate in Battle Box, while the stringed trio formed of B. Zahn, V. Stown and E. Stephens pound their axes mercilessly. Abominable Intelligence is by far the weakest song of the album, never really taking off nor getting truly heavy or exciting; but they quickly get back on track in style with a fulminating Thrash Metal onrush titled Ripper Attack, spearheaded by M. Law’s devilish roars supported by his bandmates’ spot-on backing vocals, flowing into the apocalyptic and melancholic outro Obsoletion Complete, ending the album on a truly dark vibe.

After all is said and done, you’ll realize Whispers of Death is raw, aggressive thrash – no filler, no compromise and no bullshit – as Vindicator continue to unleash their signature brand of Thrash Metal to diehard fans of the genre and the unsuspecting alike. Hence, you can be caught in their frantic mosh by following the band on Facebook and on Instagram, by streaming their sick creations on Spotify, and of course by purchasing the incendiary Whispers of Death by clicking HERE. It’s thrash or be thrashed, and if you have what it takes to face Vindicator’s newborn beast, I’m sure you’ll thrash majestically.

Best moments of the album: Thirst For Violence, Your World Dies In Flames and Ripper Attack.

Worst moments of the album: Abominable Intelligence.

Released in 2025 Independent

Track listing
1. Whispers of Death… Anxiety’s Grip 5:37
2. Charnel Pastures 3:42
3. Thirst For Violence 6:31
4. Your World Dies In Flames 4:46
5. Exhaustion 3:05
6. Novocain 1:29
7. Bleed Between The Lines 4:59
8. Merry Evenings Make Sad Mournings 4:26
9. Battle Box 2:37
10. Abominable Intelligence 2:45
11. Ripper Attack 4:07
12. Obsoletion Complete 1:07

Band members
M. Law – vocals
B. Zahn – lead guitar, backing vocals
V. Stown – rhythm guitar, backing vocals
E. Stephens – bass
G. Monturi – drums

Album Review – Old Machines / The Cycles of Extinction (2025)

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This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.

Astral warlords and celestial leviathans, Portland, Oregon-based  Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.

You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.

Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.

In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.

Best moments of the album: Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.

Worst moments of the album: Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.

Released in 2025 Pale Magus Productions

Track listing
1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25

Band members
Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums

Album Review – Signs of the Swarm / To Rid Myself of Truth (2025)

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Continuing to molt their slamming Deathcore exoskeleton, Pittsburgh, Pennsylvania’s own beast is unleashing upon us their strongest and most violent album to date.

Continuing to molt their slamming Deathcore exoskeleton, with their metal metamorphosis revealing a band now as indebted to Meshuggah, Gojira and Fear Factory as any of the Deathcore bands they grew up on, Pittsburgh, Pennsylvania’s own beast Signs of the Swarm is unleashing upon humanity their new offering, titled To Rid Myself of Truth, following up on their 2023 slab of brutality Amongst the Low & Empty. Produced by Josh Schroeder at Random Awesome! Recording Studio, and featuring guest appearances by Will Ramos (Lorna Shore), Phil Bozeman (Whitechapel), Jack Murray (156/Silence) and Johnny Crowder (Prison), the new album by David Simonich on vocals, Carl Schulz on the guitars, Michael Cassese on bass, and Bobby Crow on drums carries a title that exudes confidence while the band’s pursuit of substance over style of the month is as refreshing as it could be surprising.

The title-track To Rid Myself of Truth already showcases the band’s ruthless welcome card, with the bludgeoning riffs and bass lines by Carl and Michael, respectively, bringing absolute heaviness and violence to the atmosphere; followed by Hell Must Fear Me, also stylized as HELLMUSTFEARME, a lesson in modern-day Deathcore with the inhumane, deep growling by David haunting our souls for all eternity, not to mention how demented Bobby sounds on drums. Natural Selection reminds me of some of the darkest creations by Thy Art Is Murder, with David once again stealing the show with his creature from the abyss-like roars; and the way they managed to match David’s growls with the pulverizing drums by Bobby is outstanding in Scars Upon Scars, as if they were a two-headed beast of violence and Deathcore, sounding very progressive and multi-layered as well. Chariot keeps the album as demented and aggressive as possible, with Carl’s visceral riffs cutting our skin deep mercilessly; and David is joined by the one and only Will Ramos for a demented display of Deathcore in Clouded Retinas, showcasing the most Stygian form of vociferations imaginable, and the final result is insanely good.

Iron Sacrament is another song that reeks of violence and dementia just the way we like it in Deathcore, featuring guest vocals by Phil Bozeman, and of course the sick riffs by Carl will inspire you to bang your head nonstop when those guys take your city by storm; whereas Forcing to Forget is a bit too modern or alternative for my personal taste, lacking the same level of aggressiveness from all previous songs. Then back to a more visceral, headbanging sound we have Sarkazein, with Bobby once again providing David with exactly what he needs to scream like a bestial entity nonstop. Needless to day, it should also work really well if played live. Then guest vocalists Jack Murray and Johnny Crowder bring an endless amount of stamina and rage to their already infernal music in Fear & Judgment, turning it into a must-listen for fans of the genre, whereas closing such an incandescent album of Deathcore we’re treated to Creator, where their core essence is infused with the Djent sounds blasted by their idols Meshuggah, and the final result couldn’t have been heavier.

To Rid Myself of Truth is clearly the band’s strongest, darkest and most diverse album to date, showcasing a healthy evolution in their undisputed sound while remaining loyal to their foundations, becoming therefore a must-listen for both old school, diehard fans of the band, and newcomers to their reign of violence and heaviness. You can keep in touch with the boys from Signs of the Swarm by following them on Facebook and on Instagram, including their demented live performances, stream their full discography on most platforms like Spotify, and of course add the caustic, harsh To Rid Myself of Truth to your devilish collection by purchasing it from BandCamp or by clicking HERE. In our chaotic world where truth and lies walk hand in hand, there’s nothing better than the savage Deathcore by Signs of the Swarm to give us strength to keep on moving forward no matter what, with their newborn beast definitely representing the most important step in their already solid and thrilling career.

Best moments of the album: Hell Must Fear Me, Scars Upon Scars, Clouded Retinas and Fear & Judgment.

Worst moments of the album: Forcing to Forget.

Released in 2025 Century Media Records

Track listing
1. To Rid Myself of Truth 3:38
2. Hell Must Fear Me 3:07
3. Natural Selection 3:56
4. Scars Upon Scars 3:00
5. Chariot 3:31
6. Clouded Retinas 3:12
7. Iron Sacrament 3:24
8. Forcing to Forget 3:36
9. Sarkazein 4:26
10. Fear & Judgment 4:19
11. Creator 3:47

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Guest musicians
Johnny Crowder – vocals on “Fear & Judgment”
Jack Murray – vocals on “Fear & Judgment”
Will Ramos – vocals on “Clouded Retinas”
Phil Bozeman – vocals on “Iron Sacrament”

Album Review – Retching / Charming the Decomposed (2025)

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If you’re into Death Metal that’s heavy, catchy, and fun, but also not completely senseless, this American duo will make your day to the sound of their debut album.

Having found a way to present the gore-soaked, rotten, old school-inclined Death Metal sound that we all love with quality songwriting that elevates it beyond the nostalgic, aspiring bands of this ilk, Rhode Island, United States-based Death Metal duo Retching is unleashing upon humanity their depraved debut, beautifully entitled Charming the Decomposed. Displaying a gory artwork by Slimeweaver, the new offering by Mondo on “erotic moans and six string razor wire” (aka vocals and guitars), and Latex on “low end garrote and oil drums” (aka bass and drums) is highly recommended for fans of Broken Hope, Cannibal Corpse, Fulci, Undeath, Mortician, and Devourment, offering a much-desired dose of primal brutality while inviting listeners to keep coming back for more as the album offers more than just simplified caveman-mosh Death Metal savagery.

The wicked intro Moonlight Perversions, inspired by some of the weirdest things you can find in the United States, sets the tone for Gorging on Ecstacy, an explosion of classic Death Metal where the inhumane growling by Mondo is nicely complemented by Latex’s demented kitchen. The duo shows no mercy for our putrid bodies in Premature Decapitation, blasting an overdose of violence and gore through their incendiary riffs, blast beats and venomous guttural; and Latex continues to hammer his bass and drums in Shower Curtain Silhouette, crafting a reverberating sound that lives up to the legacy of Death Metal. and of course, a name like Foaming deserved the most destructive form of Death Metal imaginable, all boosted by the deranged roaring by Mondo.

Vulgar Celluloid Trophy is another song with a very peculiar name, with their heaviness and groove punching us mercilessly in the head; whereas Mondo keeps vociferating like a demonic entity in the also heavy-as-hell Septic Entombment, supported by the brutal bass and drums by Latex, highly inspired by 90’s Death Metal. Fetid Abattoir is by far the weakest of all songs, sounding a bit generic if compared to all devastation that happens throughout the rest of the album, and the fact it’s kind of an instrumental track doesn’t help either; and last but definitely not least, the duo gets back on track with the most destructive song of the album, entitled Mortuary of Desire, offering their trademark dirty riffs, crushing beats, and the always gruesome vociferations by Mondo until the very last second.

Assimilating influences from various Death Metal giants the likes of Cannibal Corpse and Suffocation, while at the same time attempting to go about creating something delectable and effective in their own way, Retching will crush your senses to the sound of Charming the Decomposed, available from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and you can also find more details about the duo on Instagram. Who knows, maybe we’ll see those guys take some stages by storm in their homeland soon. Put differently, if you’re into Death Metal that’s heavy, catchy, and fun, but also not completely senseless, Retching will certainly make your day to the sound of their demented debut album.

Best moments of the album: Premature Decapitation, Foaming and Mortuary of Desire.

Worst moments of the album: Fetid Abattoir.

Released in 2025 Transcending Obscurity Records

Track listing
1. Moonlight Perversions (Intro) 1:25
2. Gorging on Ecstacy 4:00
3. Premature Decapitation 3:35
4. Shower Curtain Silhouette 3:29
5. Foaming 4:28
6. Vulgar Celluloid Trophy 3:10
7. Septic Entombment 4:12
8. Fetid Abattoir 4:21
9. Mortuary of Desire 3:32

Band members
Mondo – vocals, guitars
Latex – bass, drums

Album Review – Cancerbero / Sempiternal Decay (2025)

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One of the most ruthless entities hailing from Chile is back with a lesson in devilish and archaic Death Metal, exactly the way it was meant to be in the 80’s.

Originally formed in Concepción, Chile in 1987 by vocalist Peter and split up in 1994 with two demos recorded before that, the unrelenting Death Metal beast known as Cancerbero is ready to kill once again armed with their third full-length opus, entitled Sempiternal Decay, following up on their 2019 sophomore Reconquering the Throne of Death. Recorded by V. Wraith, and displaying an ass-kicking, classic cover art by Mörtuus Art, the new album by Peter on vocals and bass, Evil Killer and Silencio on the guitars, and L. Grave on drums is an album that’s most definitely a lesson in devilish and archaic Death Metal the way it was meant to be in the 80’s, not just musically, but also in essence, spirit and attitude.

The intro The Arrival feels like the sounds of evil entities arising from the pits of the underworld, warning us all about the demented feast that’s about to begin in Primal Deities, with L. Grave already pounding his drums in the best Doom Metal style while Evil Killer and Silencio melt our faces with an overdose of harsh riffs and solos. The quartet continues to darken the skies with their undisputed blend of Death Metal in Infernal Fire, with Peter not only roaring like a beast, but his bass lines also sound demonic; and delivering a more straightforward, no shenanigans Death Metal onrush we face Obscure Rites, led by the classic beats and fills by L. Grave, sounding perfect for slamming into the pit like there’s no tomorrow.

Bollocide (Deathrashing Chaos) is another song with a charming name that will inspire you to dive deep into the circle pit while Evil Killer and Silencio fire classic (and absolutely demented) Death Metal riffs, and the band will then drag you six feet deep in Burial, offering that traditional Death Metal sound perfect for some wild headbanging. They continue to crush our damned souls in Serpent’s Domain, spearheaded by another demonic vocal performance by Peter and the always pulverizing beats by L. Grave; whereas lastly, they offer our putrid ears almost seven minutes of Death Metal insanity in Burning Angels, starting with another riff-attack by the band’s guitar duo, with their gore, violence and obscurity flowing manically until the very last second.

Extremely recommended to fans of Morbid Angel, Possessed, Mortem, Sadistic Intent, Asphyx, Celtic Frost, Death, Messiah, and Pentacle, among countless other giants of old school Death Metal, Sempiternal Decay (available in full on YouTube) will crush you like a putrid insect, proving why the band has become a synonym to the genre in their homeland. Hence, you can get in touch with the guys from Cancerbero on Facebook, staying up to date with all of their news, tour dates and so on, and of course grab a copy of their new album from Memento Mori. Cancerbero are the epitome of primeval, no shenanigans Death Metal, and once you listen to their bestial new offering, your putrid bodies and minds will never be the same again.

Best moments of the album: Primal Deities, Obscure Rites and Serpent’s Domain.

Worst moments of the album: None.

Released in 2025 Memento Mori

Track listing
1. The Arrival (intro) 1:04
2. Primal Deities 3:53
3. Infernal Fire 4:59
4. Obscure Rites 4:48
5. Bollocide (Deathrashing Chaos) 3:54
6. Burial 5:56
7. Serpent’s Domain 4:29
8. Burning Angels 6:40

Band members
Peter – vocals, bass
Evil Killer – guitars
Silencio – guitars
L. Grave – drums

Album Review – Blackbraid / Blackbraid III (2025)

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Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.

A solo indigenous Black Metal project from the depths of the Adirondack wilderness, creating music as raw and powerful as the mountains from whence it came, New York’s own Atmospheric Black Metal entity Blackbraid, the brainchild of the beyond talented vocalist and multi-instrumentalist Sgah’gahsowáh, is finally back with the highly anticipated follow-up to his critically acclaimed 2023 album Blackbraid II. Fully composed and performed by Sgah’gahsowáh, with drums, recording, mixing and mastering done by Neil Schneider (of the excellent bands Calling of Phasmic Presence, Diplegia, Telepathic Ceremony and Vintertodt), and displaying a stunning artwork with painting by Adam Burke of Nightjar Illustration and ilustration by Adrian Baxter, with visual development and graphic design by Wolf Mountain Productions, the breathtaking Blackbraid III is another beast of an album by our witch hawk Jon Krieger, showcasing a huge step forward in his already beautiful career and, therefore, resulting in a must-listen for fans of contemporary Atmospheric and Melodic Black Metal.

The acoustic, atmospheric intro Dusk (Eulogy) warms up our souls for the blackened feast titled Wardrums At Dawn On The Day Of My Death, with Sgah’gahsowáh powerfully declaiming the song’s dark and poetic words (“Awakened by a western wind / The blood of chaos seeps into dawn / A call to war in honor and death / The warrior’s fate to ride the storm / Ride”), always supported by Neil’s insane beats and fills. The Dying Death Of A Sacred Stag is another massive chant with pensive, introspective lyrics (“Upon a great throne of black mountains / Born in the heart of the storm / A keeper of shadow and twilight / A sentinel of lands long forlorn / Born within the eyes of the storm”) while our dauntless witch hawk keeps slashing his axe nonstop; and we’re then treated to the ethereal interlude The Earth Is Weeping before all hell breaks loose in God Of Black Blood, featuring a guest guitar solo by Randy Moore, a tribal, ruthless aria by Sgah’gahsowáh perfect for dancing and prancing around the fire like a true Native American.

It’s impressive how Sgah’gahsowáh can craft delicate yet obscure instrumental pieces like Traversing The Forest Of Eternal Dusk, setting the tone for the absolute demolishing Tears Of The Dawn, a lecture in Atmospheric Black Metal with the pounding drums by Neil walking hand in hand with the visceral roars and scorching riffage by Sgah’gahsowáh. Like Wind Through The Reeds Making Waves Like Water, the last interlude of the album, once again sounds enfolding, melancholic and whimsical, soothing our heats and souls before we face the flawless And He Became The Burning Stars…, one of the best Blackbraid songs of all time, with all harsh vociferations, scathing riffs and blast beats flowing perfectly until the very last second, taking us on a way one journey into the heart of the Adirondack Mountains. And finally, we have Fleshbound, an amazing cover version for a classic by Lord Belial, from their 2005 album Nocturnal Beast (check out the original HERE), and Sgah’gahsowáh’s rendition is just as visceral, aggressive and detailed.

Ready to embark on a North American headlining tour this year with support from Lamp of Murmuur, Dödsrit, and Gudsforlad, Sgah’gahsowáh and his Blackbraid are poised to conquer the entire world of heavy music with the third chapter in his musical and spiritual journey, and not only you can find the album in full on YouTube and on Spotify, but you should definitely purchase it from BandCamp or from the project’s official merch store in the United States or in the European Union. Don’t forget to also give Sgah’gahsowáh a shout on Instagram, and to stream all of his songs and albums on YouTube, Spotify or any other streaming service. Because the witch hawk of Black Metal is back, sounding heavier and more epic than ever, with the first-class music found in his new album majestically echoing through the misty mountains.

Best moments of the album: Wardrums At Dawn On The Day Of My Death, God Of Black Blood, Tears Of The Dawn and And He Became The Burning Stars…

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Dusk (Eulogy) 1:02
2. Wardrums At Dawn On The Day Of My Death 4:54
3. The Dying Death Of A Sacred Stag 7:44
4. The Earth Is Weeping 3:39
5. God Of Black Blood 5:52
6. Traversing The Forest Of Eternal Dusk 3:39
7. Tears Of The Dawn 9:18
8. Like Wind Through The Reeds Making Waves Like Water 2:49
9. And He Became The Burning Stars… 9:50
10. Fleshbound (Lord Belial cover) 4:03

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “God of Black Blood”

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”