Category Archives: 2025 New Releases

Album Review – Necrambulant / Upheaval of Malignant Necrambulance (2025)

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Enjoy this relentless record presented as an anthology of horror, gore, and slamming Brutal Death Metal by an amazing American band that describes their sound as “Inhuman Slam Grind”.

A relentless record presented as an anthology of all that the band represents, horror, gore, and slamming Brutal Death Metal, incorporating a full arsenal of Death Metal and Deathslam to further define their self-described sound of “Inhuman Slam Grind”, Upheaval of Malignant Necrambulance, the sophomore opus by Phoenix, Arizona-based horde Necrambulant, has something to offer on many levels of thematic brutality, including zombies, serial killers, cannibals, sci-fi, and Warhammer. Recorded, mixed, and mastered by Xander Bridge, produced by the band itself, and displaying a venomous cover art by Nev of Gruesome Graphx, the new album by vocalist Andy “Bonemeat” York, guitarist Ron Clark, bassist Trent Pittard and drummer Matt Riena is perfect for fans of Devourment, Kraanium, Cephalotripsy, Cannibal Corpse, and Abominable Putridity, bringing an overdose of heaviness and gore to admirers of the heaviest side of extreme music.

A horrid, desperate scream ignites the band’s overdose of brutality in Amalgamation of Gresome Curdling Ambonination, led by the inhumane gnarling by Andy in the best “BREEEEEE!” style possible, whereas the slashing guitar lines by Ron walk hand in hand with the primeval beats by Matt in Inhumane Creophagus Repulsion, a vile blast of Brutal Death Metal violence. The beautifully titled Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) is highly recommended for some demented slamming into the pit, with Andy sounding even more putrid and demonic on vocals, flowing into the also demented Barbarian Brute Force Annihilation (BFTBG), where Matt hammers his drums nonstop. Their Brutal Death Metal attack goes on in the heavy-as-hell Sentenced to a Guttonous Pit, spearheaded by the trademark BREEEEEE! vociferations by Andy; and they show no mercy for our putrid, decaying bodies in Pestilential Ascendancy, offering more of their first-class, infernal riffs and blast beats.

Ineffable Tormenting Possession brings forward two and a half minutes of undisputed malignancy in the form of heavy-as-hell extreme music led by the crushing drums by Matt, followed by the also deranged Chunked Pus Chowder, carrying a sick name for an overdose of deep guttural roars, venomous riffs and classic, deadly drums, with Andy once again barking and vomiting the song’s lyrics in great fashion. The title-track Upheaval of Malignant Necrambulance will burst our ears with more of the band’s undisputed Brutal Death Metal sounds, whereas Coffin Meat offers the same level of savagery, albeit not as inspired (Andy’s depraved guttural is still there, of course). And last but not least, the dirty riffs by Ron and the metallic bass by Trent will pierce your damned soul in Self-Biologic Carnivorous Cannibalism, ending the album on a beyond visceral note.

“This new album is just a relentless barrage of slamming brutal death metal. We strived for a no-bullshit / no-filler tracklist that will just pummel the listener with heaviness. We spent the past two years working on fine-tuning these songs to be a proper representation of our original moniker of ‘Inhuman Slam Grind’. We hope this new album is something that fans of our earlier material will appreciate and something fresh for the newer fans as well. Expect a full audial assault of horror, gore, and guttural slamming sickness the Necrambulant way,” says the band, and you can join them inside their demented mosh pit by following them on Facebook and on Instagram, by streaming their music on any streaming platforms like Spotify, and above all that, by purchasing the bludgeoning Upheaval of Malignant Necrambulance from the Gore House Productions’ BandCamp or by clicking HERE, or you can also click HERE for all things Necrambulant. This is “Inhuman Slam Grind” at its finest, bringing horror, violence, blood and gore to your miserable life, and may this amazing slamming band from Phoenix continue to blast our ears with the brutality found in their unrelenting new album for many decades to come.

Best moments of the album: Inhumane Creophagus Repulsion, Pestilential Ascendancy and Chunked Pus Chowder.

Worst moments of the album: Coffin Meat.

Released in 2025 Gore House Productions

Track listing
1. Amalgamation of Gresome Curdling Ambonination 3:09
2. Inhumane Creophagus Repulsion 3:14
3. Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) 3:14
4. Barbarian Brute Force Annihilation (BFTBG) 3:47
5. Sentenced to a Guttonous Pit 2:59
6. Pestilential Ascendancy 2:53
7. Ineffable Tormenting Possession 2:24
8. Chunked Pus Chowder 3:04
9. Upheaval of Malignant Necrambulance 2:01
10. Coffin Meat 2:50
11. Self-Biologic Carnivorous Cannibalism 3:00

Band members
Andy “Bonemeat” York – vocals
Ron Clark – guitars
Trent Pittard – bass
Matt Riena – drums

Album Review – Cradle of Filth / The Screaming Of The Valkyries (2025)

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It’s time to live deliciously to the sound of the screaming Valkyries found in the fourteenth studio album by one of the most revolutionary bands in the history of extreme music.

Reigning supreme as one of the most revered, formative and notorious names in music, from the depths of the Extreme Metal underground to the peaks of mainstream pop culture itself, Suffolk, England’s ultimate blasphemers Cradle of Filth are back from the netherworld armed with their arrestingly catchy fourteenth studio album, The Screaming of the Valkyries, the follow-up to their 2021 beast Existence Is Futile. Produced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studio, and displaying a beyond sinister artwork by Roberto Diaz (aka Arte del Caos), the new album by the iconic frontman Dani Filth, guitarists Marek ‘Ashok’ Smerda and Donny Burbage, bassist Daniel Firth, keyboardist Zoe Marie Federoff and drummer Martin ‘Marthus’ Skaroupka is a succinct summation of the ghosts of the band’s past and a bold step into the future, offering Dani’s unparalleled screams and equally identifiable growls alongside twin guitar attacks, symphonic flourishes, and an explosive rhythm section for the delight of all diehard fans of the band or newcomers to their sinister lair.

The opening aria To Live Deliciously is cryptic and atmospheric from the very first second, erupting into an overdose of Extreme Metal magic led by Mathus’ hammering drums, with Dani gnarling like a true servant of darkness. Then we have Demagoguery, bringing to our putrid ears over six minutes of absolute madness where the Stygian keys by Zoe match perfectly with the riffage by Ashok and Donny, also presenting the band’s characteristic haunting passages; and an avalanche of guitar shredding and epic keys permeates the air in The Trinity Of Shadows, offering us the past, present and future of Cradle of Filth in an exciting and compelling manner. Non Omnis Moriar, a Latin phrase that means “not everyone will die”, is a more cadenced yet heavy and caustic creation by the band, with Zoe’s operatic vocals bringing an extra touch of finesse to the music, whereas White Hellebore presents an overdose of Dani’s damned words (“Plucked from the grave on a moonless midnight / Sucking on staves, she was noted for fight / Intoxicated, I fell in love / With this curse and a cure for my rabid dementia”) amidst a sharp, devilish and classic display of Symphonic Black Metal.

The band’s guitar duo continues to fire their phantasmagorical riffs in You Are My Nautilus, offering more of Cradle of Filth’s undisputed, wicked sounds, with Marthus once again showcasing endless dexterity and heaviness behind his drums, followed by Malignant Perfection, showcasing a beautiful fusion of Gothic music with heavier styles, plus of course another dosage of their darkly poetic lyrics (“Kindred may I introduce / Upon the mortal fools / The evil that has shaken loose / From bondage to now rule / She walks at dusk to tragic serenades / As the river shivers at her passing darkness”). Ex Sanguine Draculae, which is Latin for “from the blood of Dracula”, carries a name that perfectly suits the band’s music and history, starting in an imposing, sinister way to Dani’s demonic roar while the guitars by Ashok and Donny transpire Black Metal magic; and last but not least, we have another long, multi-layered, detailed and vicious tune entitled When Misery Was A Stranger, with its cinematic intro reeking of Cradle of Filth before exploding into a frantic onrush of Symphonic Black and Gothic Metal led by Dani’s vicious gnarls, putting a beyond infernal and climatic ending to the album.

In a nutshell, The Screaming of the Valkyries beckons the brave into a new era of Cradle of Filth misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. Hence, don’t forget to follow the band on Facebook and on Instagram for news and tour dates (like their upcoming Chaos & Carnage tour in North America alongside Dying Fetus, Fleshgod Apocalypse, and other demented bands), to stream their music on Spotify, and of course to grab a copy of their impious new album from BandCamp or from Napalm Records by clicking HERE or HERE. It’s time to live deliciously to the sound of the screaming Valkyries that live inside the new album by the one and only Cradle of Filth, keeping the fires of extreme music burning bright until our decaying world comes to its inevitable end.

Best moments of the album: The Trinity Of Shadows, White Hellebore, Ex Sanguine Draculae and When Misery Was A Stranger.

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. To Live Deliciously 5:32
2. Demagoguery 6:17
3. The Trinity Of Shadows 6:23
4. Non Omnis Moriar 5:06
5. White Hellebore 5:04
6. You Are My Nautilus 7:39
7. Malignant Perfection 6:46
8. Ex Sanguine Draculae 7:10
9. When Misery Was A Stranger 6:21

Band members
Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums

Album Review – Vallorch / The Circle (2025)

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Behold the triumphant return to action by this Italian horde armed with their third full-length album, continuing their journey into the world of Folk and Symphonic Metal.

Forged in 2010 in the city of Venice, Italy, Folk Metal horde Vallorch, a name taken from a small Cimbrian village on the Cansiglio plateau, continues their journey into the world of Folk and Symphonic Metal with their third full-length installment, entitled The Circle, the follow-up to their 2015 album Until Our Tale Is Told, and a triumphant return to action by the band. Reborn from the ashes of their former selves, frontwoman Sara Tacchetto, vocalist and bassist ​Leonardo Dalla Via, guitarist ​Mattia Buggin, vocalist and keyboardist ​Marco Povolo, and drummer ​Massimo Benetazzo, supported by guest violinist Serena Zucco (of Adgarios) are ready to take the world by storm once again, inviting us all to join them in the battlefield or to simply party at a cozy and loud inn.

It’s a prancing Folk Metal party right from the start in To the Silver Summit, with Leonardo and Massimo dictating the song’s galloping pace while Sara distills her mesmerizing vocals nonstop, whereas Hellpath continues to showcase their upbeat folk sounds, with the bouzouki by Marco adding an extra touch of finesse to the overall result. Circle of the Moon is one of those songs born to be played live, where all riffs, bass lines and drums match perfectly with the uniqueness of the bouzouki, bagpipe and violin, followed by Drink Some More!, a raucous celebration of music, camaraderie, and revelry, where Mattia kicks some ass armed with his stringed axe; and the Celtic harp by ​guest Glorya Lyr (of Eard) brings a charming aura to the delicate ballad Antermoia, led by the always passionate vocals by Sara (not to mention the striking, soulful guitar solo by Mattia).

Their metallic party goes on in Röte Löon, which should translate as “red lion” from German, another captivating tune by such an amazing Italian horde, with Sara and Leonardo making an absolutely stunning vocal duet. Then back to a more Heavy Metal inspired sound, it’s time for the fierce battle hymn Salbanéo, recommended for fans of Folk Metal masters Korpiklaani, with Leonardo sounding amazing with his harsh vocals; whereas The Wild One is by far the most generic of all songs, not as captivating as the rest of the album, albeit the vocals by Sara still sound powerful. And lastly, we face Dyssomnia, the most epic and detailed of all songs (thanks in part to its duration), with the entire band sounding sharp, in special Marco armed with his keyboards and bouzouki, all spiced up by a thunderous performance by Massimo on drums.

Fans of Eluveitie, Alestorm, Wind Rose, and Korpiklaani, among others, will find much to love in the vibrant fusion of folk instrumentation and symphonic power found in The Circle, and you can be part of their sonic celebration by following them on Facebook and on Instagram, by streaming their inebriate creations on Spotify, and of course by grabbing a copy of The Circle from Rockshots Records, or by clicking HERE or HERE. In other words, it’s time to raise our glasses, let the music by Vallorch take over, and drink some more with those Italian metallers as they unleash their most refined and exhilarating work to date upon us all.

Best moments of the album: Circle of the Moon, Drink Some More! and Salbanéo.

Worst moments of the album: The Wild One.

Released in 2025 Rockshots Records

Track listing
1. To the Silver Summit 3:53
2. Hellpath 3:52
3. Circle of the Moon 3:34
4. Drink Some More! 3:42
5. Antermoia 5:00
6. Röte Löon 4:39
7. Salbanéo 3:59
8. The Wild One 4:10
9. Dyssomnia 9:08

Band members
Sara Tacchetto – vocals, choirs, tin whistle, bagpipe
​Leonardo Dalla Via – vocals, harsh vocals, choirs, bass, programming
​Mattia Buggin – electric and acoustic guitars
​Marco Povolo – vocals, choirs, keyboards, bouzouki, programming
​Massimo Benetazzo – drums

Guest musicians
Serena Zucco – violin
​Glorya Lyr – Celtic harp in “Antermoia”

Album Review – Helvitnir / Wolves of the Underworld (2025)

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Prepare to be engulfed by the icy fury of this Norwegian Black Metal horde as their debut album storms into the metal scene.

Forged in the icy depths of Norway back in 2023, the ruthless Black Metal horde known as Helvitnir is unleashing upon humanity their highly anticipated debut album, titled Wolves of the Underworld. Paying homage to the cold, primal energy of their predecessors while pushing boundaries, introducing dynamic shifts, melodic textures, and a powerful sense of narrative, the band currently formed of Hellcommander Vargblod on vocals and bass, Ihizahg and Bjarkan on the guitars, and Hellhammer on drums is on absolute fire throughout their entire debut offering, a brutal and evocative work that promises to leave an indelible mark on the Black Metal landscape that will surely position the band as torchbearers of the genre’s next chapter.

The opening aria Throes Of Transformation sounds as infernal as Norwegian Black Metal can be, with Hellhammer already showing his dexterity and passion for the dark art behind his drums, and the winds of violent and evil Black Metal keep howling in Black Flame Triad, with Ihizahg and Bjarkan firing razor-edged riffs for our total delight. Helvitnir, the song that carries the name of the band, couldn’t have sounded more infernal, with Hellcommander Vargblod leading his horde with his demonic roars and thunderous bass; whereas Hellhammer keeps pounding his drums in the name of darkness in Void Of Emptiness, another classic Black Metal extravaganza where Hellcommander Vargblod vociferates like a true demon until the very last second.

There’s no sign of the band slowing down or sounding less caustic or demonic, offering our putrid ears Imagery Of Deceit, with Hellcommander Vargblod gnarling rabidly during the song’s unrelenting four minutes, followed by Odinsbane, the weirdest of all songs, where the Doom Metal elements don’t work as expected, in special its background keys. Then back to a much stronger, more visceral sonority we have Dread Biter, a song that reeks of Norwegian Black Metal thanks to the scorching, piercing guitar lines by Ihizahg and Bjarkan, and this unstoppable Norwegian horde will crush us all once again with Helheim’s Throne, a demolishing metal hymn showcasing the unrelenting drumming by Hellhammer. Lastly, of course the album ends like it started, with a fulminating onrush of Black Metal titled Draugr, spearheaded by the scorching riffs by Ihizahg and Bjarkan, before all fades into the void.

Prepare to be engulfed by the icy fury of Helvitnir as Wolves of the Underworld storms into the metal scene, a sonic journey through bitterly cold wastelands and infernal depths, where every track resonates with a visceral, unrelenting energy. Hence, you can join this amazing Norwegian horde on Facebook and on Instagram, stream their sulfurous music on YouTube and on Spotify, and of course grab a copy of the fiery Wolves of the Underworld from Dusktone’s BandCamp or webstore, or simply by clicking HERE. In the end, Helvitnir are definitely a force to be reckoned in the world of extreme music, and Wolves of the Underworld masterfully depicts what they’re capable of in the foreseeable future.

Best moments of the album: Throes Of Transformation, Helvitnir and Dread Biter.

Worst moments of the album: Odinsbane.

Released in 2025 Dusktone

Track listing
1. Throes Of Transformation 5:01
2. Black Flame Triad 4:46
3. Helvitnir 4:36
4. Void Of Emptiness 5:18
5. Imagery Of Deceit 3:50
6. Odinsbane 4:59
7. Dread Biter 5:17
8. Helheim’s Throne 4:24
9. Draugr 4:12

Band members
Hellcommander Vargblod – vocals, bass
Ihizahg – guitars
Bjarkan – guitars
Hellhammer – drums

Album Review – Vokodlok / The Egregious Being (2025)

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Inspired by the darkest side of humanity, these Romanian werewolves will darken your damned souls to the sound of their devilish sophomore opus.

Carrying an imposing name derived from the Slavic word “vukodlak” which means “werewolf”, the renowned mystical creature from several Transylvanian legends, Timișoara, Romania’s own Black Metal entity Vokodlok is darkening the skies of their homeland (and of the entire world) once again to the sound of their sophomore opus The Egregious Being, following up on their 2020 EP Oracle’s Fury and their 2003 debut Mass Murder Genesis. Inspired by the darkest side of humanity, the new album by Pestarzt on vocals, Urmuz and Ghiaur on the guitars, Blestemat on bass and Nemgrá on drums offers nine songs of unrelenting Black Metal not recommended for the lighthearted, a frightening, howling display of extreme music made in “The Land of Dracula.”

Get ready for an overdose of dark and haunting sounds, starting with the obscure The Human, where the blast beats by Nemgrá walk hand in hand with the demonic riffage by Urmuz and Ghiaur, followed by Death Terror, an avalanche of old school Black Metal made in Romania with Pestarzt roaring like a demonic entity supported by his bandmates’ infernal sounds. In Warzone the name of the song says it all, as it’s total annihilation to the demented drums by Nemgrá in this beast of a Black Metal song; whereas Disdain leans towards the Blackened Death Metal played by bands like Behemoth, a beyond ruthless creation that lives up to the legacy of the genre. And Bestiarium is another song with a beautiful name that will smash you like an insect, with Blestemat’s bass sounding and feeling like a stone crusher from start to finish.

jagh ‘Iw vIpoQ (whatever the name of the song means) is a pulverizing slab of Back Metal by Vokodlok where the band’s guitar duo is on fire and in absolute sync until the very last second; and a little more than two minutes is all they need to pulverize us all in Denizen, with the deep guttural by Pestarzt adding a share of pure Death Metal to the band’s core Black Metal essence. The band continues to darken the skies with their fusion of Black and Death Metal in The Faces Within, with the riffs by Urmuz  and Ghiaur being boosted by another demented performance by Blestemat on bass, albeit a bit too long in the end. Finally, closing such a sulfurous album we have The Monster, with the enraged roars by Pestarzt and the blast beats by Nemgrá inviting us all to join them in pitch black darkness for all eternity.

The fires of Romanian Black Metal are burning brighter than ever with the release of Vokodlok’s impious new album The Egregious Being, available for purchase on BandCamp, and if you’re eager to join the band on their Transylvanian nightmares you can find them on Facebook and on Instagram, as well as on YouTube and on Spotify. However, don’t say you haven’t been warned, as their heaviness and obscurity will certainly penetrate deep inside your soul, darkening your minds and thoughts for all eternity, therefore taking you on a one-way descent into the underworld ruled by Romanian werewolves and other devilish Black Metal creatures.

Best moments of the album: Warzone, Disdain and The Monster.

Worst moments of the album: The Faces Within.

Released in 2025 Independent

Track listing
1. The Human 7:16
2. Death Terror 4:02
3. Warzone 4:32
4. Disdain 4:02
5. Bestiarium 5:06
6. jagh ‘Iw vIpoQ 5:45
7. Denizen 2:14
8. The Faces Within 7:16
9. The Monster 5:45

Band members
Pestarzt – vocals
Urmuz – guitars, backing vocals
Ghiaur – guitars
Blestemat – bass
Nemgrá – drums

Album Review – Aversed / Erasure of Color (2025)

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Boston, Massachusetts’ own Progressive/Melodic Death Metal beast returns with their sophomore album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

Four years after the release of their critically acclaimed first full-length album Impermanent, Boston, Massachusetts’ own Progressive/Melodic Death Metal beast Aversed returns in full force with their sophomore opus, entitled Erasure of Color, bringing forward more of what the band itself likes to label as “Gothic Extreme Metal”. Currently formed of Sarah Hartman on vocals, Sungwoo Jeong and Alden Marchand on the guitars, Martin Epstein on bass, and Jeff Saltzman on drums, Aversed showcase endless rage and yearning in their new album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

It’s pedal to the metal from the very first second in To Cover Up the Sky, with Sarah already proving why she was chosen to be the band’s new frontwoman in an interesting fusion of Death Metal with the sounds by bands like Jinjer and The Agonist. Then in Cross to Bear we face cryptic lyrics barked by Sarah (“Allow no joy / Because I am only me when I bereave / All my warmth pushed below the surface / Allow no joy, no exhilaration / I do not feel like me, anymore”) while Sungwoo and Alden extract sheer electricity from their axes. “In 1905, a French physician, Dr. Jacques Beaurieux, performed an experiment on prisoners condemned to die by guillotine. Immediately after his subjects were decapitated, he called out their names seeking to determine to what extent and for how long consciousness remained in their detached skulls”, commented the band, and that was the inspiration for Lucid Decapitation, again investing in a Jinjer-infused Progressive Metal sonority, with the bass by Martin sounding truly metallic; whereas in Inexorable they get back to a more vicious, enraged vibe, while also sounding melodic and embracing, albeit not as dynamic and inspired as the other songs.

The album continues on a high note with Burn, again venturing through the realms of classic Melodic Death Metal, with Jeff dictating the song’s pace with his unstoppable, hammering drums; while Solitary starts in a more introspective manner to the clean vocals by Sarah, showcasing the band’s more progressive and experimental side, and gradually evolving into a Melodic Death Metal aria before ending in a climatic and visceral vibe. Then the title-track Erasure of Color brings forward an avalanche of heaviness to the vicious roars by Sarah and the stylish, piercing guitars by Sungwoo and Alden, again sounding absolutely progressive from start to finish. And before all is said and done the band offers the whimsical interlude Yearning, prepping our souls for one final onrush of melodeath titled Departures, where the band delivers a more cadenced sonority perfect for Sarah’s clean and harsh vocals, even sounding radio-friendly at times, with all changes inside the music keeping it vibrant and fresh.

Fans of bands like Arch Enemy, At The Gates, The Agonist, Cradle of Filth, and Katatonia, among several others, will have an absolute blast listening to Erasure of Color, available for purchase from the band’s own BandCamp, or simply by clicking HERE. Aversed definitely know how to blend the harshness of Death Metal with melodic and gothic styles, and if you want to know more about the band, their plans for the future, and obviously their tour dates, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, and stream their music on Spotify or any other service. Although the title of the album points to the lack of any color, let’s say the music found in the album is quite the opposite, a colorful, diverse and thrilling amalgamation of styles that will inspire the band to keep moving forward no matter what, always reinventing themselves and keeping us eager for more of their thrilling creations.

Best moments of the album: To Cover Up the Sky, Lucid Decapitation and Erasure of Color.

Worst moments of the album: Inexorable.

Released in 2025 M-Theory Audio

Track listing
1. To Cover Up the Sky 4:26
2. Cross to Bear 4:05
3. Lucid Decapitation 5:17
4. Inexorable 5:13
5. Burn 3:46
6. Solitary 5:42
7. Erasure of Color 4:19
8. Yearning 1:30
9. Departures 5:29

Band members
Sarah Hartman – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Martin Epstein – bass
Jeff Saltzman – drums

Album Review – Lordi / Limited Deadition (2025)

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Paying homage to the 80’s toy culture, Mr. Lordi and his crew of unstoppable monsters return to action with another electrifying album of heavy music.

Displaying a unique blend of nostalgia and Heavy Metal creativity, embodying the spirit of a true limited edition, Limited Deadition, the brand new album by Finnish Heavy Metal/Hard Rock monsters Lordi, pays homage to the 80’s toy culture, a theme deeply resonant with frontman Mr. Lordi, a lifelong collector of action figures and other memorabilia. Recorded in Helsinki at IluSound Studio and Finnvox Studios, with Mr. Lordi taking on production duties, mixed by Ilkka Herkman, and mastered by Pauli Saastamoinen, the album’s concept aligns seamlessly with the band’s penchant for clever wordplay and thematic innovation, making it an essential addition to any fan’s collection while again showcasing all the talent and passion for our beloved Rock N’  Roll by the aforementioned Mr. Lordi alongside Kone on the guitars, Hiisi on bass, Hella on keyboards, and Mana on drums.

SCG XIX The Hexecutioners is a classic intro like in all Lordi albums, prepping us all for their monster attack in Legends Are Made Of Clichés, sounding extremely 80’s thanks to the classic keys by Hella and the Rock N’ Roll riffs by Kone. Mr. Lordi’s raspy, devilish vocals match perfectly with the futuristic keys by Hella in Syntax Terror, an exciting Hard Rock tune that will work really well live, whereas slowing things down while investing in an AOR vibe we have Skelephant In The Room, led by the classic beats by Mana. Then after the brief interlude SCGTV Saturday Night Main Event we face Killharmonic Orchestra, offering a more Heavy Metal-inspired sonority thanks to the riffs by Kone and the rumbling bass by Hiisi, whereas Collectable presents a melancholic start to the piano by Hella, evolving into a decent ballad with a striking solo by Kone.

Then after the fun interlude SCGTV Monstersquad Action Figures it’s time to hit the dance floor with Lordi in Fangoria, where the bass by Hiisi will send shivers down your spine while Hella continues to shine with her Hard Rock/AOR-infused keys. Mr. Lordi’s vocals and Kona’s riffs kick off the also 80’s-inspired Hellizabeth, keeping the album at a high dancing level. SCGTV The Hexecutioners Season Finale is perhaps the coolest of all interludes, followed by the classic rock tune Retropolis, showcasing a solid guitar work by Kone, in special another one of his fiery solos, and the always ass-kicking vocals by Mr. Lordi. Hella’s classy piano notes ignite another ballad entitled Frighteousness, which evolves into an AOR feast that’s just average; and after a word from their “sponsors” in SCGTV Crazeee Ralph Promo, it’s time for the title-track Limited Deadition, again showcasing a great balance between heavy riffs and whimsical keys while Mana dictates the pace with his spot-on beats and fills. Then ending the album we have the cowbell-infused rockin’ tune You Might Be Deceased, with Mr. Lordi’s striking, visceral vocals being nicely supported by his bandmates classic backing vocals.

“The album topic of 80’s toys is actually just a loose theme, but it’s been with me since I was little. I’ve always been a collector of various things, and I’m even some kind of a hoarder. I can’t even remember what my first toy was, but my obsession basically started with ‘Muppet Show’ dolls, followed by ‘Star Wars’ and ‘E.T.’ figures, with the latter actually being my favorite movie of all time,” commented Mr. Lordi, and you can feel his obsession with those collectibles by purchasing your favorite version of the album by clicking HERE, therefore also feeding your heavy music collector’s hunger. don’t forget to also follow those beautiful creatures on Facebook and on Instagram, keeping updated with all of their tour dates, to subscribe to their YouTube channel, and to stream all of their creepy creations on Spotify. For those ready to dive into this monstrous adventure, Limited Deadition is not just an album, but a celebration of Lordi’s unparalleled creativity and enduring legacy, making us eager for more of their monster-infused music in a not-so-distant year.

Best moments of the album: Syntax Terror, Killharmonic Orchestra, Fangoria and You Might Be Deceased.

Worst moments of the album: Collectable and Frighteousness.

Released in 2025 Reigning Phoenix Music

Track listing
1. SCG XIX The Hexecutioners 0:55
2. Legends Are Made Of Clichés 3:59
3. Syntax Terror 4:11
4. Skelephant In The Room 3:44
5. SCGTV Saturday Night Main Event 0:21
6. Killharmonic Orchestra 3:40
7. Collectable 4:21
8. SCGTV Monstersquad Action Figures 0:54
9. Fangoria 3:41
10. Hellizabeth 3:40
11. SCGTV The Hexecutioners Season Finale 0:31
12. Retropolis 3:29
13. Frighteousness 3:08
14. SCGTV Crazeee Ralph Promo 0:42
15. Limited Deadition 4:06
16. You Might Be Deceased 3:32

Band members
Mr. Lordi – vocals
Kone – guitars
Hiisi – bass
Hella – keyboards
Mana – drums

Album Review – Diabállein / Anti Sacra (2025)

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One of the driving force of the current Brazilian Black Metal scene returns with their sulfurous fourth studio album, going against any type of religious oppression.

Forged in the fires of Monte Alto, São Paulo, Brazil in the year of 2010, the ruthless Black Metal horde known as Diabállein, a Greek verb that means “to throw across” or “to slander” (or the root of the word diabolos, which means “slanderer”, as diabolos is the origin of the English word “devil”), is a true exponent of Brazilian Black Metal, being highly influenced by cult bands the likes of Sarcófago, Darkthrone, Mayhem, Enthroned, Songe d’Enfer, Venom, and Motörhead, among others. Now in 2025 the band formed of Octavius Voxum on vocals, Jean Misfortune and Caio Blackthorn on the guitars, Maicon Alastor on bass, and Ivam Phobos on drums returns with their fourth full-length opus, entitled Anti Sacra, the follow-up to their 2022 album Misanthropy Chronicles. Recorded at Arte Estúdio, produced by the band itself in partnership with Danilo Penharbel Nogueira (who was also responsible for the mixing and mastering of the album), and displaying a sinister artwork by Rubens Snitram of Azoth Artwork, Anti Sacra is an intense and provocative work that comes to challenge dogmas and conventions, addressing themes such as criticism of institutionalized religion, rebellion against social norms, deconstruction of myths and exploration of individual spirituality.

The phantasmagorical, cryptic intro Aurora will set the stage for the band to crush our putrid souls in Incipit Tragoedia, where Jean and Caio begin their vicious Black Metal riff attack supported by the unstoppable blast beats by Ivam. Eternal Vortex, the first single of the album, showcases frontman Octavius gnarling rabidly in the name of total darkness supported by the visceral riffage by the band’s guitar duo. Deteriorated By Time (Dust) sounds and feels a bit generic compared to the previous songs, but still exhaling evil and hatred, whereas the title-track Anti Sacra offers our impious ears an overdose of Black Metal magic led by the hammering drums by Ivam while Octavious barks manically until the very last second. And such an amazing Brazilian horde will burn your immoral souls to the sound of Burn The Morals And Dogma, again showcasing a great balance of devilish riffs and harsh vociferations; while lastly we’re treated to an overdose of heavier-than-hell, venomous sounds in Wisdom And Solitude, living up to the legacy of classic Black Metal.

Digitally released via Sangue Frio Records, while the physical release is supported by several labels, including Impaled Records, Sangue Underground Records, Luceferian Gnosis, Belial Songs, Infernal Dimension Distro, Nyarlathotep Records, and Rocketz Records, Anti Sacra reaffirms the band’s position as one of the driving forces of the current Brazilian Black Metal scene. Hence, don’t forget to join their devilish horde by following them on Instagram, by subscribing to their YouTube channel, by streaming their wicked creations on Spotify, and of course by purchasing or streaming your favorite version of Anti Sacra by clicking HERE. It’s time to succumb to the darkest side of Brazilian extreme music to the sound of the sulfurous new album by Diabállein, going against any type of religious oppression, and therefore inspiring us all to keep fighting for our freedom in the name of the always liberating Black Metal.

Best moments of the album: Eternal Vortex, Anti Sacra and Wisdom And Solitude.

Worst moments of the album: Deteriorated By Time (Dust).

Released in 2025 Sangue Frio Records

Track listing
1. Aurora 1:11
2. Incipit Tragoedia 5:28
3. Eternal Vortex 6:10
4. Deteriorated By Time (Dust) 5:40
5. Anti Sacra 5:36
6. Burn The Morals And Dogma 6:11
7. Wisdom And Solitude 6:20

Band members
Octavius Voxum – vocals
Jean Misfortune – lead guitar
Caio Blackthorn – rhythm guitar
Maicon Alastor – bass
Ivam Phobos – drums

Album Review – Ritual Ascension / Profanation of the Adamic Covenant (2025)

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This cryptic American Abstract Death/Doom Metal outfit will drag you further down the abyss to the sound of their anti-religious and blasphemous concept debut full-length monstrosity.

Coalesced around 2023, after Minneapolis, Minnesota’s own Death/Doom Metal beast Aberration completed their debut album, when three of its members, D.H. (Silurian, Suffering Hour) on vocals, J.H. (Annihilation Cult, Feral Light, Void Rot) on the guitars and bass, and E.C. (Annihilation Cult, Feral Light, Umbral Twilight) on drums and percussion, reconvened to continue creating together and to keep pushing their deviant ideas forward, American Abstract Death/Doom Metal outfit Ritual Ascension is unleashing upon us all their horrendous debut full-length monstrosity, Profanation of the Adamic Covenant. Recorded by Adam Tucker at Signaturetone Recording, mixed by D.H. at Black Dust Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a cryptic, grim artwork by Belial NecroArts, the album takes the masterful death-doom horror of early Temple Nightside and Grave Upheaval, and transfigures it further into the darkest abysses of surrealism.

The bells are tolling in the name of obscure music, opening the gates of the underworld to the gargantuan, venomous gnarls by D.H. in Womb Exegesis, a Blackened Doom aria where E.C. hammers his drums like a demonic entity. The same devilish aura from the opening track permeates the air in Pillars of Antecedence, even more sluggish and grim thanks to the slow and steady beats by E.C. while J.H. extracts minimalist yet visceral riffs from his axe, followed by Cursed Adamic Tongues, the shortest song of the album, and also the most punishing, violent one, with D.H. gnarling like a true demon while J.H. and E.C. build a beyond ruthless atmosphere. Then like the soundtrack to a black, sulfurous cult, the trio delivers the disturbing Consummation Rites, offering us all over ten minutes of apocalyptic passages, somber riffs, vile roars and endless despair; and last but definitely not least, Ritual Ascension will take us on a one-way trip to the netherworld in Kolob (At the Throne of Elohim), a massive wall of Doom and Death Metal masterfully crafted by the trio, spearheaded by the always caustic, austere riffs by J.H. armed with his venomous axe.

Not only the music by Ritual Ascension is harsh and disturbing, but Profanation of the Adamic Covenant is also an anti-religious, blasphemous, behemoth concept album dealing with some of the darkest and most sinister aspects in the history and theology of the so called Church of Jesus Christ of Latter-day Saints (also known as the Mormon Church), and shaped by direct experiences by some of the band members themselves within said religious movement as well, inviting the listeners to a wild, sinister musical journey while casting them further down the abyss, into a bottomless sepulcher of confusion and of complete chthonic torment. Having said all that, you can find more information about such a distinct trio of death and doom on Instagram, and purchase a copy of their caustic debut from the Sentient Ruin Laboratories’ BandCamp or webstore, feeding your inner demons with their chaotic music while you enjoy your eternal descent into the abyss.

Best moments of the album: Pillars of Antecedence and Kolob (At the Throne of Elohim).

Worst moments of the album: None.

Released in 2025 Sentient Ruin Laboratories

Track listing
1. Womb Exegesis 9:02
2. Pillars of Antecedence 8:58
3. Cursed Adamic Tongues 5:24
4. Consummation Rites 10:52
5. Kolob (At the Throne of Elohim) 13:22

Band members
D.H. – vocals
J.H. – guitars, bass
E.C. – drums, percussion

Album Review – Frightful / What Lies Ahead (2025)

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Playing old school Death Metal with Thrash Metal and Grindcore influences, this Polish horde attacks again with their ruthless sophomore beast.

Playing old school Death Metal with Thrash Metal and Grindcore influences the likes of Carcass, Exhumed, Demolition Hammer and Sepultura, Gdańsk, Poland-based outfit Frightful is back in action with their second full-length installment, entitled What Lies Ahead, continuing the path of destruction initiated with their 2021 debut full-length Spectral Creator. Recorded, mixed and mastered by Maciej Nejman at Studio 147, with a classy yet venomous cover art by N. Zuki of Belial NecroArts (and layout by Paweł Ozon of XXV The Sign), the new album by Oskar Wańka on vocals and bass, Paweł Snarski and Eryk Jakubczyk on the guitars, and Krzysztof Pochranowicz on drums offers exactly what admirers of classic Death Metal need, positioning the band as a force to be reckoned with not only in their homeland, but anywhere in the world where high quality Death Metal is properly appreciated.

The opener Cloaked by Nothingness already provides us with a harsh, raw and visceral sonority boosted by its cryptic words (“Embraced by spectred deny / Forming disease in the absence of light / Levitating inside / Extinction is a matter of time”), inviting us all to slam into the pit and succumb to the dark side of metal; and Paweł  and Eryk’s infuriated thrashing riffs set the tone in Disincarnate Sower, resulting in a caustic metal feast where Oskar gnarls like a demon nonstop. Krzysztof  then hammers his drums like a demented beast in What Lies Ahead, offering more of the band’s frantic fusion of Black, Death and Thrash Metal, whereas the band attacks in full force in No Fear, with Oskar growling rabidly while firing low-tuned, menacing bass lines at the same time, supported by the bestial drumming by Krzysztof.

Into the Phantom Hearts is perhaps the song with the darkest lyrics (“At beginning of curse / So pure, unsullied / By permanent abuse / Now be left with grief / Punctured hearts turns quickly into frost / Unable to take them strokes / Hardened in acts and riven in thoughts / As result left with nothing”), while the music is a true hurricane of Blackened Death and Thrash Metal sounds; whereas Paweł  and Erik continue to distill their devilish riffs in Farewell, sounding tailored for fans of the dark arts and pure circle pit action. The album gets better and better as the music progresses, with the fulminating Cathedrals of Creation bringing forward the slashing riffs by the band’s guitar duo while Oskar growls and barks in the name of evil; and last but not least, Frightful will destroy our frail bodies without mercy in Inexplicable, speeding things up while also adding an extra dosage of sulfur to their music.

If you believe you have what it takes to join Frightful in their quest for the harshest, most inhumane form of Death Metal you can think of, you can start following the band on Facebook and on Instagram for news, tour dates and so on, and of course stream more of their caustic creations on YouTube, on Spotify or on any other streaming platform. And above all that, don’t forget to purchase a copy of the excellent What Lies Ahead from the Godz ov War Productions’ BandCamp or webstore, supporting the band in their dark path and, therefore, adding more fuel to the always beautiful Polish Death Metal scene, inspiring other bands like Frightful to keep releasing excellent albums like what they masterfully crafted in their newborn spawn.

Best moments of the album: Into the Phantom Hearts, Farewell and Cathedrals of Creation.

Worst moments of the album: What Lies Ahead.

Released in 2025 Godz ov War Productions

Track listing
1. Cloaked by Nothingness 5:45
2. Disincarnate Sower 4:46
3. What Lies Ahead 4:57
4. No Fear 4:27
5. Into the Phantom Hearts 6:01
6. Farewell 3:37
7. Cathedrals of Creation 4:38
8. Inexplicable 5:42

Band members
Oskar Wańka – vocals, bass
Paweł Snarski – guitars
Eryk Jakubczyk – guitars
Krzysztof Pochranowicz – drums