Category Archives: 2025 New Releases

Album Review – Noumenia / Echoes (2025)

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This promising Italian Post-Groove Metal band will hit us hard and fast to the sound of their exciting debut album, dealing with the paradoxical power of conjoining anger with empathy, despair with hope, and desolation with trust.

An exciting Post-Groove Metal album featuring heavy drumming, rhythmic virtuosity, ripsaw female growl vocals, and a gargantuan guitar sound that literally reinvents the power of the power chord, Echoes is the debut offering by Northern Italy-based band Noumenia, from Ancient Greek Νουμηνία, which translates to “new moon” and signifies the first day of the lunar month. Produced by Richard Meiz (Lacuna Coil, Genus Ordinis Dei), and mixed and mastered by Daniele Salomone (Lacuna Coil, Inverno) at DDStudio Records, Echoes is a powerful album that hits hard and fast, featuring buzzsaw vocals that explore a myriad of textures and tones, and an addictive groove vibe that lifts audience members out of their seats.

Eerie piano notes permeate the air in the opening tune Blind Idols before Samuele begins hammering his drums nonstop, opening the gates of the underworld for Vivian to deeply roar like a true she-demon; and we then face the groovy and modern The Circle, where their Djent vein arises stronger than ever thanks to the band’s “Matteos” armed with their stringed weapons. The quartet then increases their aggression and violence in Outsider, offering a striking hybrid of Post-Groove Metal with the music by Machine Head and In Flames; whereas the Djent-infused metallic, rumbling bass by Matteo Campagnoli will crush our heads in Fractures, while Vivian continues to vociferate deeply and with tons of anger in her blackened heart. And Fall Apart is another song that sounds at the same time very melodic yet visceral, with its background keys walking hand in hand with Vivian’s clean and harsh vocals.

Samuele continues to blast his drums in great fashion in Black Ocean, with the riffs by Matteo Radaelli exhaling Groove Metal for our total delight. It’s time to go full Groove Metal in Outbreak, with all band members sounding tight and infuriated until the very last second, followed by Firewall, one more song where Vivian’s anguished vocals are effectively complemented by the pounding drums by Samuele. Digital Aftermath is by far one of the darkest and most complex songs of the album, with Matteo Campagnoli crushing his bass majestically, not to mention Vivian reaches her deepest guttural of the entire record. And lastly, the band continues to venture through darker paths in Under the Veil, which ends up being a kind of tiresome outro as it’s too long and doesn’t offer anything truly outstanding.

In the end, Echoes is about the paradoxical power of conjoining anger with empathy, despair with hope, desolation with trust, and emptiness with the heartbeat of spirit. The band itself suggests that whether we bask in the sunlight or plunge down into the abyss, we do it with passion and verve, exactly like the music they have to offer us all in their debut opus. Hence, you can check what such a promising band is up to on Facebook and on Instagram, including their live performances, stream their music on Spotify, and of course, put your dirty hands on Echoes by clinking HERE, or simply click HERE for all things Noumenia. This is undoubtedly a must-listen for fans of Post-Groove Metal, Modern Metalcore, Modern Metal, and other contemporary styles, building a very exciting path ahead of those Italian metallers and, therefore, inspiring them to keep delivering great music that will surely echo across the entire world.

Best moments of the album: The Circle, Fractures and Digital Aftermath.

Worst moments of the album: Under the Veil.

Released in 2025 Eclipse Records

Track listing
1. Blind Idols 5:40
2. The Circle 3:41
3. Outsider 3:31
4. Fractures 4:17
5. Fall Apart 3:53
6. Black Ocean 4:31
7. Outbreak 3:50
8. Firewall 4:25
9. Digital Aftermath 5:20
10. Under the Veil 3:52

Band members
Vivian Nigro – vocals
Matteo Radaelli – guitar
Matteo Campagnoli – bass
Samuele Zichi – drums

Album Review – Lenax / Infection (2025)

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With lyrical themes based around esotericism, individuality, and cosmic horror, the debut album by this American Black Metal horde paints either a picture of destruction and horror, or one of death and rebirth.

With lyrical themes based around esotericism, individuality, and cosmic horror, Infection, the debut full-length opus by Nashville, Tennessee-based Black Metal horde Lenax, paints either a picture of destruction and horror, or one of death and rebirth, depending on the stance of the listener. Produced and mixed by Ilarion Ivanenko, mastered by Øystein Brun at Crosound Studios, and displaying a Stygian cover art by David DeFigueredo, such a sulfurous offering by vocalist and guitarist Venomous, guitarist Mordred, and drummer Bones, with the support of guest musicians Hephaestus on bass, and Maikon on drums, pays homage to the band’s influences while establishing them as pioneers of something new altogether dubbed by Venomous as “cosmic horror fueled nightmares,” an immersive sonic rumination on rebellion against religion, revenge, and self-realization through occult technology, with a distinct nod to Lovecraftian lore and the impending doom of the Outer Gods.

The band darken the skies from the very first second in Worship Hymn, with Venomous living up to his own moniker, delivering harsh, serpent-like vocals for our vulgar delectation. Leeches sounds even more devastating and grim, led by the scorching riffage by Venomous and Mordred, resulting in a lesson in modern-day Black Metal, and Bones keeps hammering his drums in the name of darkness in Chains, another ruthless composition not recommended for the lighthearted. Crossroad Black begins in an atmospheric, cinematic manner to minimalist sounds, gradually evolving into a mid-tempo feast of pitch black darkness led by the visceral gnarls by Venomous and the crushing beats by Bones, whereas the band sounds utterly demonic in Hive Mind Apocalypse, with their riffs, blast beats and harsh vocals piercing our damned souls mercilessly.

We Are Legion carries a name that reeks of Black Metal, sounding as sulfurous and rebellious as it can be thanks to another blast of sick riffs by Venomous and Mordred; whereas Plague Bringer offers our putrid ears a slab of stylish first-class Black Metal, sounding and feeling absolutely and beautifully heavy-as-hell, with Venomous taking his growling to a whole new level of insanity. Then we have Overdrive, which is more like a dissonant instrumental interlude that doesn’t actually bring any extra power to the album, before they pulverize us all with Throne of the Forsaken, presenting epic lyrics growled by Venomous (“He’s the Pharaoh without a name / All the past has fallen / King of nothing, no stories told / Lost legends, Aeons gone”) while the music feels as imposing as it’s grim until the very end.

In summary, Infection is undoubtedly a must-listen for fans of Watain, Immortal, and Enslaved, among others, with Lenax presenting a style of Melodic Black Metal infused with just the right amount of Black N’ Roll to land themselves in a rather unique position in the genre with their new album. Hence, you can join those talented bastards from Nashville in their quest for total darkness via Facebook and Instagram, stream their sick creations on Spotify, and grab your copy of their sulfurous new album from BandCamp or by clicking HERE. The Lovecraftian cosmic horror brought into being by Lenax in their new album is truly outstanding, and if you dare to not listen to it, may the band haunt you in your deepest nightmares for all eternity.

Best moments of the album: Leeches, Crossroad Black and Plague Bringer.

Worst moments of the album: Overdrive.

Released in 2025 Independent

Track listing
1. Worship Hymn 4:55
2. Leeches 4:06
3. Chains 4:46
4. Crossroad Black 6:06
5. Hive Mind Apocalypse 3:36
6. We Are Legion 6:11
7. Plague Bringer 3:57
8. Overdrive 2:32
9. Throne of the Forsaken 3:56

Band members
Venomous – vocals, guitar
Mordred – guitar, backing vocals
Bones – drums

Guest musicians
Hephaestus – bass
Maikon – drums

Album Review – Deciduous Forest / Fields of Yore (2025)

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Behold the debut offering by this Australian lone wolf, guiding listeners on a richly atmospheric journey through memory, emotion, and myth.

As the creative vessel for Brisbane, Australia-based vocalist, multi-instrumentalist and composer Snjór, the stunning Atmospheric Black Metal entity Deciduous Forest guides listeners on a richly atmospheric journey through memory, emotion, and myth, offering deeply captivating immersive soundscapes where melancholy and grandeur coexist, weaving together elements of Atmospheric Black Metal, Neofolk, and cinematic ambient music. Recorded by Adam Merker at Anders Debeerz, mastered by Chris Themelco at Monolith Studios, featuring guest drummer Chris Chapman, and with photography by Snjór, layout by David Mir, and logo by Luke Mills, the enfolding Fields of Yore is the debut album by Snjór’s newborn solo endeavor, offers inspiring and emotionally charged music that stands firmly among the genre’s most evocative storytellers, being therefore perfect for fans of Agalloch, Wolves in the Throne Room, and Midnight Odyssey.

The Formless Dark is undoubtedly an imposing and enfolding tune by Snjór, with his keys adding an extra touch of epicness to the sound while Chris brings sheer heaviness through his beats, whereas Ghost Of Lies continues to pave the album’s darkened path, with Snjór’s visceral riffs and deep vociferations hammering our cranial skulls in the name of Atmospheric Black Metal, sounding even more Stygian than the opening tune. The song that carries the name of the album, Fields Of Yore, lives up to the legacy of Atmospheric Black Metal, sounding impressive from start to finish with its ethereal rhythm and classy keys, a multi-layered, dynamic and charming tune that will beautifully darken the skies for all eternity; followed by Ages Past, the longest song of the album, also offering an array of layers, striking roars and riffs, epic keyboards and Doom Metal-infused drums, dragging us into Snjór’s cryptic lair and embracing us in pitch black darkness. Lastly, Snjór brings some peace to our blackened hearts with Anemoia, starting in a beyond ethereal manner before morphing into a Blackened Doom-inspired aria.

In a nutshell, Fields of Yore is a richly textured and absolutely vibrant journey, sounding at the same time haunting and luminous, with the introspective beauty of the aforementioned Agalloch, the expansive bleakness of Wolves in the Throne Room, and the cosmic scope of Midnight Odyssey being all woven into one evocative sonority. Hence, you can get more details about Snjór and his Deciduous Forest from the project’s official Instagram, and of course grab a copy of such a unique and immersive album from BandCamp. If this is just the debut album by Deciduous Forest, I can’t even imagine what’s next in Snjór’s musical path, leaving us eager for more as we wander through his vast fields of yore.

Best moments of the album: Fields Of Yore and Ages Past.

Worst moments of the album: None.

Released in 2025 Gutter Prince Cabal

Track listing
1. The Formless Dark 6:34
2. Ghost Of Lies 9:24
3. Fields Of Yore 12:16
4. Ages Past 13:25
5. Anemoia 5:08

Band members
Snjór – vocals, guitars, bass, keyboards

Guest musician
Chris Chapman – drums (session)

Album Review – For Your Health / This Bitter Garden (2025)

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A Post-Hardcore/Mathcore creature from Columbus, Ohio will attack your senses with the chaotic intensity and politically-charged lyrics of their sophomore album.

Since their formation in 2018, Columbus, Ohio’s own Post-Hardcore/Mathcore creature For Your Health has been building a reputation for chaotic intensity, visceral live performances, and politically-charged lyrics. Now in 2025 the band currently comprised of vocalist Hayden Rodriguez, guitarists Nick Marzluf and Rosa Delgado, bassist Johnny Deborde, and keyboardist Simona Morales has just released their sophomore album, titled This Bitter Garden, following the band’s acclaimed 2021 debut full-length In Spite Of. Recorded in only 15 days, with the band working with producer Eric Hudson at a studio “repurposed from an old church in the sticks of Illinois”, with an eerie artwork by the band’s own Simona Morales, and featuring session drummer Caden Clinton, the album sounds utterly harsh, haunting and caustic, helping the band in paving their Stygian path armed with their undisputed, impactful music.

The band takes no prisoners and begin distilling their noisy sounds in Davenport (A Rotten Pear), with Hayden screaming manically nonstop, followed by Flowers For The Worst Of Them, bringing forward a great fusion of Hardcore with progressive elements, with Nick and Rosa extracting sheer adrenaline from their guitars. Then the rumbling drums by Caden dictate the pace in the also melodic yet visceral With Empty Promises & Loaded Guns, perfect for some action inside the pit, and it’s pedal to the metal in the demented Gaia Wept, where Hayden’s vile screams are nicely boosted by the song’s violent beats. After such an insane sonic attack, the band delivers more melodic sounds in the form of Clementine, followed by the weird The Radiant Apostasy, a short and eerie display of the band’s core sonority.

Heaven, Here begins in a more serene mode to the sound of the piano by Simona, flowing smoothly while adding a good share of melancholy to the album before all explodes in absolute chaos and madness in Longinus, led by another wicked performance by the band’s guitar duo supported by Johnny’s bass. The Rotting Pair is undoubtedly one of the most detailed and complex of all songs thanks to the amazing job done by all band members armed with their sonic weapons, with Hayden’s striking vocals being the icing on the cake; and they keep hammering their instruments without mercy in In The Valley of Weeping, resulting in another frantic display of Post-Metal with Hardcore influences. Then they need less than two minutes once again to kick us hard in the ass with Lamb Without Fold, with the blast beats by Caden sounding heavier than hell. Your New Curse follows a similar pattern, with Hayden showcasing pure insanity and rage through his screams, and the band concludes their wild feast with the longest of all tracks, Hostel Elysia, starting in an enfolding manner until their venomous vein bursts once again.

“These songs are a true distillation of all the sonic ideas we’ve explored previously and our different interests,” shared guitarist Rosa Delgado. “Hayden has a strong appreciation for film. We’re coupling his world-building and atmosphere with the immediacy, urgency, and brutality of our early material. We’re always striving to challenge ourselves. This Bitter Garden is an expansion of everything before.” Vocalist Hayden Rodriguez also had some interesting words to say about the album. “This Bitter Garden is the first recording where we got to express ourselves as the full band we’ve been playing as for the last four years. Everyone’s voice comes through. We’ve progressed, but it still feels like For Your Health.” Hence, in order to experience the sonic attack by For Your Health in all of its glory, you should start following the band on Facebook and on Instagram, and above all that, grab a copy of their new album from the band’s own BandCamp, from the 3DOT Recordings’ webstore or by clicking HERE. The music by For Your Health might not seem too aggressive at first, but once you’re embraced by their scorching noise and grim lyrics, you’ll then realize Hardcore has never sounded so intense nd violent.

Best moments of the album: Flowers For The Worst Of Them, Gaia Wept and The Rotting Pair.

Worst moments of the album: The Radiant Apostasy.

Released in 2025 3DOT Recordings

Track listing
1. Davenport (A Rotten Pear) 2:02
2. Flowers For The Worst Of Them 3:18
3. With Empty Promises & Loaded Guns 3:29
4. Gaia Wept 1:40
5. Clementine 3:36
6. The Radiant Apostasy 1:53
7. Heaven, Here 3:10
8. Longinus 1:59
9. The Rotting Pair 4:26
10. In The Valley of Weeping 4:07
11. Lamb Without Fold 1:46
12. Your New Curse 1:46
13. Hostel Elysia 5:01

Band members
Hayden Rodriguez – vocals
Nick Marzluf – guitar, vocals
Rosa Delgado – guitar, vocals
Johnny Deborde – bass
Simona Morales – keyboards, piano, synthesizers, vocals

Guest musician
Caden Clinton – drums (session)

Album Review – Reflection / The Battles I Have Won (2025)

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These Greek warriors will shatter the silence once again by the sound of thunder as their fifth studio album comes galloping out of the darkness, a paradise for those whose hearts still burn with the flame of Heavy Metal.

Eight years after the release of Bleed Babylon Bleed, Athens, Greece-based Epic Heavy Metal veterans Reflection will shatter the silence once again by the sound of thunder as The Battles I Have Won, their fifth studio album, comes galloping out of the darkness. Recorded, mixed and mastered at Dark Water Audio, produced by Stathis Pavlantis at Music House Studio, and showcasing a ruthless and fierce warrior in the artwork by Alexander Vasilopoulos, the new opus by vocalist Kostas Tokas, guitarist Stathis Pavlantis, bassist John Litinakis, and drummer Giorgos Pavlantis, with additional orchestrations by guest Kostas Rekleitis, is a must-listen for  fans of Iron Maiden, Manowar, Doomsword, and Omen, where every song is a highlight in its own right. Put differently, The Battles I Have Won is a paradise for those whose hearts still burn with the flame of Heavy Metal.

Stathis begins shredding his axe in the name of Epic Heavy Metal in Only the Swords Survive, a fast and furious tune where Kostas leads his horde with his soaring vocals; and Giogos hammers his drums in the best Manowar style in The Battles I Have Won, consequently inspiring us all to head into the battlefield alongside those Greek warriors. Lord of the Wind is another song with a strong Manowar vibe, with John and Giorgos building a striking galloping rhythm, offering Kostas all he needs to shine on vocals, whereas Sirens’ Song is an even more cinematic and imposing creation by the quartet where the additional orchestrations by guest Kostas Rekleitis bring an extra dosage of epicness to their already powerful Heavy Metal, followed by Once Again (Crime in the Valley of Death), carrying a poetic name for a thrilling fusion of Heavy and Power Metal led by Stathis’ piercing riffs.

Celestial War sounds and feels a bit generic compared to the rest of the album, although Kostas still showcases a solid performance on vocals supported by the hammering drums by Giorgos; and back to a more exciting and visceral mode, March of the Argonauts is a lecture in Power Metal where all bands members are on absolute fire, in special Stathis armed with his scorching riffs. Then offering their most melodious side, the band fires the Melodic Heavy Metal feast entitled Lady in the Water, with Stathis once again delivering sheer electricity through his axe accompanied by the rumbling bass by John. And last but not least, it’s time for the epic City Walls of Malta – The Great Siege to conclude the album on a thunderous mode, with Kostas declaiming the song’s dark words in great fashion.

True legends of the Greek Heavy Metal scene, Reflection carefully added tons of depth and atmosphere to each tale as The Battles I Have Won unfolds, sounding absolutely warm and richly textured, vibrant, vital and alive. Needless to say, The Battles I Have Won will surely come to be regarded as Reflection’s finest album to date, and you can become part of their history by purchasing a copy of the album from the Pitch Black Records’ BandCamp or webstore (as a CD, an LP, or a CD + LP bundle), as well as from Vinylstore.gr (also as a CD or an LP). Don’t forget to also give those Greek warriors a shout on Facebook, fighting side by side with them in the battlefield in the name of our beloved Heavy Metal, because they might have won many battles, but they’re ready for more armed with their undisputed new album.

Best moments of the album: The Battles I Have Won, Sirens’ Song and March of the Argonauts.

Worst moments of the album: Celestial War.

Released in 2025 Pitch Black Records

Track listing
1. Only the Swords Survive 3:56
2. The Battles I Have Won 4:17
3. Lord of the Wind 4:51
4. Sirens’ Song 4:42
5. Once Again (Crime in the Valley of Death) 5:30
6. Celestial War 4:45
7. March of the Argonauts 5:05
8. Lady in the Water 5:16
9. City Walls of Malta – The Great Siege 4:44

Band members
Kostas Tokas – vocals
Stathis Pavlantis – guitars
John Litinakis – bass
Giorgos Pavlantis – drums

Guest musician
Kostas Rekleitis – additional orchestrations, string and choir arrangements

Album Review – Imha Tarikat / Confessing Darkness (2025)

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The extermination sect from Germany is back with its fourth studio album, once again pushing hard against all the boundaries that define Black Metal.

Everything about German Black Metal entity Imha Tarikat has always been real, the anger, the despair, the hatred, the bursts of energy, the eternal longing, and also the boundless passion both on record and live on stage that borders on physical self-destruction. On their fourth album, titled Confessing Darkness, such an innovative creature is once again pushing hard against all the boundaries that define the Black Metal genre without ever losing the essential connection to the harsh style. Recorded and mixed by Michael Zech at The Church of Sound Studio, mastered by Victor Santura at Woodshed Studio, and with a sinister artwork by Sofia Buratti of Silvatica Illustration and layout by Łukasz Jaszak, the follow-up to their 2022 opus Hearts Unchained – At War with a Passionless World delivers even more of the band’s raw energy than before, with a relentless pushing and unstoppable drive forward characterizing their sound, as well as a deep emotional intelligence that fully utilizes the ability of Black Metal to express every feeling ranging from purest love to darkest hatred, from severe depression to outbursts of joy, all masterfully crafted by vocalist and multi-instrumentalist Kerem Yilmaz (aka Ruhsuz Cellât), while also featuring guest drummer Jerome Reil (of bands like Destroy Them, Exumer, and The Very End).

The absolutely atmospheric intro Aufbruch, which means “departure” in English, will open the gates of the netherworld for Kerem to strike us all with Wicked Shrine, where he barks rabidly while also firing wicked riffs and bass lines, supported by the Stygian beats and fills by Jerome. Then leaning towards the more recent creations by the mighty Behemoth we have Another Failed Ritual, with the project’s Blackened Death Metal side lurking in the shadows ready to prey on us, whereas Kerem extracts strident, mesmerizing sounds from his guitar in Voices of Bitter Epiphany, exploding into a feast of Black Metal led by Jerome’s pounding drums. In Excellent Grief the dauntless Kerem continues to distill his venomous vocalizations and riffage, keeping the album as harsh and sinister as it can be; and the title-track Confessing Darkness brings forward Imha Tarikat’s most unrelenting version, with Kerem bursting his lungs screaming in anguish and despair.

Chamber of Sin is another song where Jerome shows no mercy for his drums, blasting sheer heaviness while Kerem continues to drag us to pitch black darkness with his riffs and vociferations. Then we face Horns in the Smoke, which carries a beautiful name for an onrush of Melodic Black Metal where Jerome’s beats and fills walk hand in hand with Kerem’s harsh roars. Memoria Dei (Profanity and Devil) also presents a classy name, albeit not as exciting as the rest of the album (despite its pleasant pace), while Pitch Black Reflection, the second to last song of the album, is a brutal, austere explosion of Black Metal tailored for lovers of the style, with Kerem sounding infernal with both his riffs and cryptic vocal lines. Finally, The Day I Died (Reborn into Flames) closes Kerem’s Black Metal mass in great fashion, with all violence, darkness and hatred flowing from all instruments living up to the legacy of the genre.

Taking the aforementioned personal confessions several steps further as it is all true, Imha Tarikat have matured as Confessing Darkness clearly demonstrates, overflowing conviction and strength while also marking a milestone in the rise of the band. Fans of the music by Empyriam, Anaal Nathrakh, Agrypnie, Groza, Vemod, and Wolves In The Throne Room, among others, will surely appreciate the Stygian sounds found in Confessing Darkness, and you can also get in touch with Kerem Yilmaz and his Imha Tarikat by following the project on Facebook and on Instagram, and support it by streaming all of their creations on Spotify and obviously by purchasing Confessing Darkness by clicking HERE. Love, hate, happiness, sadness, light, darkness, and of course an endless dosage of first-class modern-day Black Metal are the main ingredients in Confessing Darkness, an album that will drag you to the project’s somber lair and keep feeding on your soul for all eternity, proving once again why Imha Tarikat have become a synonym to contemporary Black Metal all across our decaying world.

Best moments of the album: Wicked Shrine, Confessing Darkness and Pitch Black Reflection.

Worst moments of the album: Memoria Dei (Profanity and Devil).

Released in 2025 Prophecy Productions

Track listing
1. Intro – Aufbruch 1:10
2. Wicked Shrine 3:17
3. Another Failed Ritual 4:48
4. Voices of Bitter Epiphany 4:13
5. Excellent Grief 4:46
6. Confessing Darkness 7:45
7. Chamber of Sin 6:56
8. Horns in the Smoke 4:10
9. Memoria Dei (Profanity and Devil) 4:57
10. Pitch Black Reflection 4:20
11. The Day I Died (Reborn into Flames) 4:26

Bonus track
12. The Sun Goes Down (Thin Lizzy cover) 6:19

Band members
Kerem Yilmaz – vocals, guitars, bass

Guest musicians
Jerome Reil – drums (session)
Marvin Giehr – vocals on “Pitch Black Reflection”, rhythm guitar on “Wicked Shrine” and “The Day I Died”
Barth Resch – vocals on “The Sun Goes Down”

Album Review – Morbyda / Under the Spell (2025)

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This relentless German Blackened Speed Metal horde is unleashing upon us their debut beast, a fresh breath of old air exhibiting both the fury of youth and the ageless wisdom of the ancients.

Part of the Leipziger Meuten, along with Dolchstoß and Wrahha, German Thrash/Speed Metal brigade Morbyda was founded in 2022 by vocalist and guitarist Chris (Indian Nightmare) and drummer Joris (Boundless Chaos, Lemongrab) with the intention to shred some skull-crushing Blackened Speed Metal. Now in 2025, after the addition of second guitarist Julez (Sintage) and bassist Antonio (Pursuit) to the band’s lineup, the band is ready to kill armed with their debut full-length offering, titled Under the Spell, a fresh breath of old air, wild yet locked-in, exhibiting both the fury of youth and the ageless wisdom of the ancients, therefore remaining a Heavy Metal album above all, fully embraced by an ass-kicking, classic artwork by Bronze and Bones.

Just like a demented entity arising from the pits of hell, the quartet will spread hatred and sulfur in the frantic Evil, where the guitars by Chris and Julez exhale pure Thrash Metal for our total delight. Then investing in an old school, 80’s-inspired Speed Metal sonority we have Mother Of Decay, with Chris’ deranged vocals being boosted by the classic beats and fills by Joris, whereas blending the fastest sounds from the early days of Iron Maiden, Motörhead, Running Wild and Megadeth we’re treated to Open The Gates Of Fire, spearheaded by the razor-edged riffs by the band’s guitar duo. And a sinister intro evolves into six minutes of scorching metal music entitled Turning The Wheel Of Steel, where their fast and furious riffs will inspire you to bang your heads nonstop as well as the electrifying beats by Joris.

The album continues to move forward at full speed with The Curse, offering an overdose of caustic riffs and solos, rumbling bass sounds and pounding drums, all in the name of our good old Thrash Metal, and their minimalist yet cryptic guitar lines gradually set fire to the atmosphere in Sacrifice, not reaching the same level of insanity of the other songs but still very enjoyable; followed by the scathing Under Her Spell, with Chris and Julez once again making a rabid dual riff attack, melting our faces with their incendiary Thrash and Speed Metal. Lastly, let’s party inside the mosh pit one final time to the sound of Morbid Ways Of Dying, with the striking riffs and solos by Chris and Julez penetrating deep inside our skin, therefore putting a beyond frantic ending to the album.

After all is said and done, it’s guaranteed you’ll fall Under the Spell, where old-days references could include Japan’s Sabbat, millennial Nifelheim, the late and great Eidomantum, early Tribulation, or Hungary’s Tormentor, but all that’s to underline just how advanced Morbyda are at this early stage. Don’t forget to follow those speed thrashers on Instagram for news, tour dates and so on, and of course to grab a copy of their caustic and infuriated new album from the Dying Victims Productions’ BandCamp or webstore. Chris, Julez, Antonio and Joris are casting a spell upon us of an undisputed, harsh and scorching blend of Blackened Thrash and Speed Metal, and you better get ready because once that spell hits your damned soul, there’s no way out.

Best moments of the album: Mother Of Decay, Open The Gates Of Fire and Under Her Spell.

Worst moments of the album: Sacrifice.

Released in 2025 Dying Victims Productions

Track listing
1. Evil 3:33
2. Mother Of Decay 5:44
3. Open The Gates Of Fire 4:43
4. Turning The Wheel Of Steel 6:19
5. The Curse 3:48
6. Sacrifice 4:36
7. Under Her Spell 6:18
8. Morbid Ways Of Dying 5:08

Band members
Chris – vocals, guitars
Julez – guitars
Antonio – bass
Joris – drums

Album Review – Cryptopsy / An Insatiable Violence (2025)

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Canada’s own Death Metal machine returns with their breathtaking ninth studio album, a commentary on today’s society mirroring our toxic relationship with social media.

More than 30 years into their storied career, revered in Extreme Metal circles for such groundbreaking classics as 1994’s Blasphemy Made Flesh and the 1996 magnum opus None So Vile, Montreal, Quebec’s own Death Metal innovators Cryptopsy return with their ninth studio album, titled An Insatiable Violence, the follow-up to their critically acclaimed 2023 opus As Gomorrah Burns. Recorded, produced, engineered, mixed and mastered by the band’s own Christian Donaldson, with a dark and sinister artwork by one of the band’s former vocalists Martin Lacroix (RIP), who sadly passed away in the beginning of 2024 (which therefore turns the artwork into the band’s own tribute to him), the new album by frontman Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard, and drummer Flo Mounier is a commentary on today’s society as though filtered through the transgressive, countercultural perspectives of J.G. Ballard and David Cronenberg, mirroring our toxic relationship with social media in the form of first-class, undisputed heavy music, therefore further solidifying the band’s place in the upper echelon of Death Metal.

It’s total devastation from the very first second in The Nimis Adoration, with Flo smashing his drums manically while Matt vociferates like a wild beast unleashed from his chains, resulting in an overdose of first-class Canadian Death Metal for the masses. Until There’s Nothing Left might be one of the most demented songs of the current Death Metal scene worldwide, where the riffage by Christian matches perfectly with the insane beats and fills by Flo. In other words, it couldn’t have sounded more infernal and exciting, and there’s no time to breathe to the sound of Dead Eyes Replete, another explosion of insanity and rage by the quartet with Christian and Olivier hammering their stringed axes nonstop. Then get ready to be pulverized inside the pit with Fools Last Acclaim, a frantic tune where Matt continues to bark, growl and roar like a rabid creature for our total delight.

Flo begins pounding his drums supported by the metallic bass by Olivier in The Art of Emptiness, offering our putrid ears the heaviest form of Death Metal out there; and switching gears to a more melodic, atmospheric sonority we have Our Great Deception, before exploding into a groovy feast blending their core Death Metal with the harmonious sounds of Melodic Death Metal, and the final result is simply striking. Then featuring guest vocals by Mike DiSalvo (who was Cryptopsy’s vocalist from 1997 until 2001) we face Embrace the Nihility, another overdose of the band’s trademark violence and hatred where Matt and Mike make an infernal vocal duo. Lastly, Christian fires sick riffs nonstop accompanied by the pounding bass by Olivier in Malicious Needs, putting a beyond vile and heavy ending to the album.

“We had to write the majority of An Insatiable Violence while on the Death to All tour, which was something we’d never done before”, commented Matt. “Flo and Chris really put their hats on. It was a feat”. Furthermore, An Insatiable Violence is also their first album after As Gomorrah Burns earned them their first ever JUNO Award in 2024 for Metal/Hard Music Album of the Year, which points to an even more exciting future ahead of those amazing Canadian musicians. Hence, go check what they’re up to on Facebook and on Instagram, including their must-see, demolishing tour dates, subscribe to their YouTube channel and stream more of their music on Spotify, and above all that, grab a copy of the flammable An Insatiable Violence by clicking HERE. Cryptopsy are undoubtedly at the top of the food chain when it comes to Canadian Death Metal, and An Insatiable Violence will certainly fuel them for a lot more in the near future, beautifully spreading their violence and passion for heavy music to all four corner of the earth.

Best moments of the album: Until There’s Nothing Left, Fools Last Acclaim, Our Great Deception and Embrace the Nihility.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. The Nimis Adoration 4:10
2. Until There’s Nothing Left 3:59
3. Dead Eyes Replete 3:57
4. Fools Last Acclaim 3:26
5. The Art of Emptiness 4:16
6. Our Great Deception 4:21
7. Embrace the Nihility 3:50
8. Malicious Needs 5:52

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

Guest Musician
Mike DiSalvo – vocals on “Embrace the Nihility”

Album Review – Wrath of Belial / Embers of Dead Empires (2025)

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Danish Death Metal juggernauts return with fire and fury on their sophomore full-length opus, casting a harsh light on human cruelty and societal decay.

Pulling inspiration from Death Metal legends the likes of Aborted, Suffocation, Cannibal Corpse, and even the progressive might of Mastodon, Aarhus, Denmark-based Death Metal juggernaut Wrath of Belial returns with fire and fury on their sophomore full-length opus, entitled Embers of Dead Empires, the follow-up to their critically acclaimed 2017 debut Bloodstained Rebellion. Mixed and mastered by Mendel bij de Leij (Aborted, Severe Torture, Cytotoxin), with drums recorded under the skilled engineering of Jacob Bredahl at Dead Rat Studios, and featuring a brutally futuristic artwork by world renowned illustrator Daemorph, the new album by Kasper B. Hornstrup on vocals, Jonas L. Thomsen on the guitars, and Anders F.S. Mikkelsen on bass, with support from session musicians Alex Bossen (of OXX) on lead guitars, and Bastian Thusgaard (of Soilwork, Dawn of Demise, and The Arcane Order) on drums, while the live lineup now includes Richardt Olsen on the guitars and Bent Bisballe Nyeng on drums, is a savage, refined, and punishingly tight release that casts a harsh light on human cruelty and societal decay, featuring ten meticulously crafted tracks of  Brutal and Melodic Death Metal packed with razor-sharp riffs, breakneck drumming, and searing vocals.

Dismantling Logos is absolutely insane from the very first second, with guest drummer Robin Stone (of Ashen Horde and Norse) crushing his drums manically while Kasper roars like a demonic entity. In other words, the album couldn’t have started in a more ferocious and exciting way; and Alex and Jonas shred their axes without a single drop of mercy in Mask of Commiseration, offering more of the band’s demented blend of Brutal and Technical Death Metal, followed by The Secular and the Divine, a lecture in Technical Death Metal with the infuriated growls by Kasper walking hand in hand with the inhumane beats and fills by Bastian. The stringed weapons by Alex, Jonas and Anders keep breathing fire and violence in Embers, showcasing the band’s trademark fusion of intricacy and darkness, whereas the metallic, rumbling bass by Anders adds tons of groove to their sound in Visions of the Annointed, being more than perfect for some hard hitting action inside the circle pit.

Bastian shows no mercy for our damned necks an bodies in Atonement, hammering his drums nonstop in the name of classic Death Metal, therefore keeping the album at a humongous level of animosity; followed by The Devouring Mother, one of the heaviest, most infernal of all songs, led by the brutal guttural by Kasper while the band’s guitarists shred their instruments in the name of sheer aggression. There’s absolutely no time to breath to the sound of The Marble and the Sculptor, a no shenanigans, in-your-face Death Metal attack by Wrath of Belial that should work majestically if played live; and the band then sounds even more infuriated in The Stench, a visceral lesson in extreme music where Bastian steals the spotlight with his ruthless and precise drumming. Lastly, the band’s final attack, titled Weight of the Transcendent, offers more of Kasper’s demented screeches while Alex and Jonas keep firing their trademark hellish riffage nonstop.

Fans of bands such as The Black Dahlia Murder, Aborted, and high-speed Death Metal with a razor-sharp melodic edge will have a great time listening to Embers of Dead Empires, which in the end is more than just a record, but a sharpened spear aimed at the heart of apathy and decay. Hence, as Wrath of Belial ignite the underground once again, you can start following the band on Facebook and on Instagram for news, tour dates and so on, stream their music on any platform such as Spotify, get more details about the band from CDN Records or by clicking HERE, and of course grab your copy of their ruthless new album from the CDN Records webstore. Danish Death Metal has never sounded stronger than now with Wrath of Belial, and if you think you have what it takes to face Embers of Dead Empires, I’m sure you won’t regret getting pulverized by the music found in the band’s newborn beast.

Best moments of the album: Dismantling Logos, The Secular and the Divine, The Devouring Mother and The Stench.

Worst moments of the album: None.

Released in 2025 CDN Records

Track listing
1. Dismantling Logos 4:49
2. Mask of Commiseration 4:23
3. The Secular and the Divine 3:49
4. Embers 5:19
5. Visions of the Annointed 4:05
6. Atonement 4:14
7. The Devouring Mother 4:07
8. The Marble and the Sculptor 3:30
9. The Stench 4:11
10. Weight of the Transcendent 4:42

Band members
Kasper B. Hornstrup – vocals
Jonas L. Thomsen – guitars
Anders F.S. Mikkelsen – bass

Guest musicians
Alex Bossen – lead guitars (session)
Bastian Thusgaard – drums (session)
Robin Stone – drums on “Dismantling Logos”
Richardt Olsen – guitars (live)
Bent Bisballe Nyeng – drums (live)

Album Review – King’s Hammer / To Speak In Tongues EP (2025)

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Prepare to be crushed when the hammer of Death Metal by this one-man project from Richmond, Virginia falls to the sound of its debut EP.

To Speak in Tongues, the debut EP from King’s Hammer, the savage Death Metal solo project by Richmond, Virginia’s own Chuck Weatherman (the guitarist and vocalist of thrashers Shovelhead A.D.) is an outpouring of the accomplished frontman’s hardest and heaviest musical inclinations. Mixed by Chuck Weatherman himself, and mastered by Seth Metoyer (of Mangled Carpenter and Pulpit Vomit), To Speak In Tongues delivers riff upon riff upon riff, making for remorseless, relentless, yet atmospheric listening, being highly recommended for fans of Mortification, Dyscarnate, Pantera, and Grave, among others. Put differently, when Chuck Weatherman’s hammer of Death Metal falls, prepare to be crushed.

It’s pedal to the metal from the very first second in The War in Heaven, where Chuck hammers his bass and drums while also vociferating deeply like a dark creature, kicking off the album on a high note. The hellish Vehement Zeal showcases very poetic lyrics declaimed by Chuck (“Loneliness is my bride / Without it then I would die / I came from nothing / to nothing I’ll return / Another body made savage / And a soul be one with He”) while the music sounds heavy, fast and visceral just the way we like it in Death Metal, and Chuck goes absolutely heavy on bass in Wrath Decends, also delivering groove and rage through his growls and thunderous riffs and drums. Then we have Crusade IX, offering a heavy-as-hell blend of 90’s Death Metal in the vein of Unleashed, with his deep roars sounding menacing; whereas last but not least, Chuck ends the EP with the grim and technical Witches Bvrn, blasting his drums and slashing his axe in great fashion until the very end.

From old school Death Metal attack and brutal grooves to the shuddering juggernaut of darkness that is the concluding track of the EP, King’s Hammer takes no prisoners. To Speak In Tongues has all the grit and raw venom that Death Metal needs to deliver the maximum impact, and you should definitely face that sonic attack by following the multi-talented Chuck Weatherman and his King’s Hammer on Instagram, by streaming his devastating creations on Spotify or any other streaming service available, and above all that, by purchasing a copy of To Speak In Tongues from the project’s own BandCamp, or from the Broken Curfew Records’ BandCamp. It’s time to let the hammer fall, as already mentioned, and while Mr. Chuck Weatherman crushes our putrid bodies with his riff-infused blend of heaviness, we can rest assured this is just the beginning for such a promising project hailing from the United States.

Best moments of the album: Vehement Zeal and Wrath Decends.

Worst moments of the album: None.

Released in 2025 Rottweiler Records/Broken Curfew Records

Track listing
1. The War in Heaven 3:34
2. Vehement Zeal 3:15
3. Wrath Decends 2:36
4. Crusade IX 3:40
5. Witches Bvrn 3:14

Band members
Chuck Weatherman – vocals, all instruments