Category Archives: 2025 New Releases

Album Review – Scalpture / Landkrieg (2025)

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Here comes the German Death Metal tank again armed with their fourth album, revolving around the 30 Year War that devastated the German lands from 1618 until 1648. 

Here comes the German Death Metal tank Scalpture again, crushing and smashing, bulldozing all resistance into oblivion and breaking through the lines. Founded in 2009 in Bielefeld, a German city in the Ostwestfalen-Lippe Region in the north-east of North Rhine-Westphalia, the band currently formed of Thorsten Pieper on vocals, Tobias Aselmann and Felix Marbach on the guitars, Niklas Neuwöhner on bass and Moritz Nixdorf on drums delivers their fourth album, titled Landkrieg, which means “land warfare” in German, with deadly precision and an ambitious mission statement to conquer the world. Recorded, produced and mixed by Marco Brinkmann at Hellforge Studio, mastered by Lawrence Mackrory at Rorysound Studios, and displaying a stylish artwork by world renowned artist Eliran Kantor (with layout by Irrwisch Artdesign), Landkrieg brings forward ten songs of pure old school Death Metal, with each song revolving around the 30 Year War that devastated the German lands from 1618 until 1648, being therefore perfect for fans of Hail of Bullets, Bolt Thrower, Obituary, Gatecreeper, Dismember and Jungle Rot.

The serene intro The Fall works as the calm before the storm, as the band heads into the battlefield in Into Catastrophe, with Moritz bringing the heavy artillery by hammering his drums nonstop while Thorsten roars deeply and with tons of anger. Then we have Til Jeret Undergang, or “until the end”, another blast of classic 90’s Death Metal where the bass by Niklas sounds utterly heavy and metallic, turning the song into the perfect choice for some action inside the pit. Landsknecht, an expression that represents a mercenary foot soldier in late 15th-, 16th-, and 17th-century Europe, is a tormented display of Death Metal led by the crushing riffs by Tobias and Felix; followed by Wallenstein, a military leader and statesman who fought on the Catholic side during the 30 Year War, sounding considerably darker thanks to all of its elements of Doom Metal.

Den Mörka Nattens Lejon, or “lion of the dark night” from Swedish, indeed sounds like a devilish lion thanks to another bestial performance by Thorsten on vocals while Moritz speeds things up with his demolishing beats, and the hammering bass and drums by Niklas and Moritz set the tone in Of Siege and Besieged, a neck-breaking, infernal aria by the band. After that we face Schwedentrunk, a method of torture and execution in which the victim is forced to swallow large amounts of a foul liquid, such as excrement, leaning towards modern-day Melodic Death Metal while still sounding raw and evil; and it’s pedal to the metal with the infuriated Hells Choirs Chant, where their caustic riffs and blast beats match perfectly with Thorsten’s guttural roars. Finally, Bellum Se Ipsum Alet, or “war feeds itself” from Latin, puts a dark and sinister conclusion to the album, with the band’s Death and Doom vein pulsing harder than ever.

After all is said and done, it’s clear that Scalpture stayed true to their deadly roots in Landkrieg, building their music and lyrics on detailed historical research and portraying the horrors that the abyss of war has caused in some of the darkest hours of humankind. Hence, don’t forget to follow the band on Facebook and on Instagram to keep updated with all things Scalpture, to stream more of their warlike compositions on Spotify, and of course to purchase Landkrieg from BandCamp or by clicking HERE. As the band unleashes their new album upon us, that leaves us with only two choices, to run for cover or to bang our Death Metal heads hard, and based on the high quality of the music found in the album I’m sure we’ll all go for the second option.

Best moments of the album: Til Jeret Undergang, Den Mörka Nattens Lejon and Hells Choirs Chant.

Worst moments of the album: Wallenstein.

Released in 2025 Testimony Records

Track listing
1. The Fall 1:23
2. Into Catastrophe 3:46
3. Til Jeret Undergang 5:09
4. Landsknecht 4:21
5. Wallenstein 5:32
6. Den Mörka Nattens Lejon 3:22
7. Of Siege and Besieged 6:07
8. Schwedentrunk 3:28
9. Hells Choirs Chant 3:46
10. Bellum Se Ipsum Alet 5:49

Band members
Thorsten Pieper – vocals
Tobias Aselmann – guitar
Felix Marbach – guitar
Niklas Neuwöhner – bass
Moritz Nixdorf – drums

Album Review – March Of Scylla / Andromeda (2025)

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Behold the debut full-length opus by this excellent French Post-Metal act, delving into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife.

A dark Progressive and Post-Metal project that explores through ancient myths all the afflictions that humanity encounters, Amiens, France-based March Of Scylla are unleashing upon us their debut full-length album, entitled Andromeda, the follow-up to their previous EPs Archives and Dark Myth. Recorded, mixed, and mastered by Francis Caste at the renowned Studio Sainte-Marthe, the newborn spawn by vocalist Florian Vasseur, guitarist Christofer Fraisier, bassist Robert Desbiendras and drummer Gilles Masson delves into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife, being highly recommended for admirers of the music by Gojira, Tesseract, Sleep Token, and Architects.

Elements from Djent are intertwined with the band’s core Progressive Metal sounds in Ulysses’ Lies, led by the classic drums by Gilles, whereas futuristic sounds permeate the air in the hammering Death Experience, with the metallic bass by Robert hitting us hard mercilessly while Florian declaims the song’s lyrics in great fashion. They keep blasting a wild fusion of Progressive and Post-Metal with Djent and Groove Metal in The Royal Way, perfect for some vigorous headbanging, followed by To Cassiopeia, an atmospheric, eerie and lengthy interlude that sets the tone for Dark Matter, where Florian growls and screams with tons of anguish while also firing delicate yet piercing clean vocals.

The band continues to blast our ears with their melodic and heavy hitting music in Storm Dancer, with Robert’s bass and Gilles’ beats making our heads tremble, instantly merging with BlaAst, bringing forward over six minutes of atmospheric and groovy passages, with the heaviness flowing from all instruments supporting Florian’s powerful vocals. Gilles puts the pedal to the metal and hammers his drums nonstop in Achilles’ Choice, an overdose of Progressive Post-Metal with the bass by Robert sounding utterly metallic; and Florian bursts his lungs screaming in the beyond melodic Myrrha, accompanied by the scorching riffs by Christopher in a lesson in Post-Metal. And last but not least, March of Scylla will smash us all with their Post-Metal onrush in Cosmogony, again showcasing all their energy, versatility and heaviness.

Themes of existential anxiety, social injustice, and deep emotional struggles intertwine with personal storytelling, universal mythology, and historical context throughout the entire album, offering a powerful and thought-provoking musical journey that’s definitely worth a good and detailed listen, and you can show your support to the band by following them on Facebook and on Instagram, by streaming their music on YouTube, Spotify or any other streaming service, and above all that, by purchasing Andromeda from BandCamp or by clicking HERE. After all is said and done, there’s a clear evolution in the music by March Of Scylla in Andromeda compared to their previous efforts, paving a bright future ahead of them while they keep delivering sheer sonic awesomeness in the near future, both with other striking albums like their debut one and with their undisputed focus, hardwork and passion for heavy music.

Best moments of the album: Death Experience, BlaAst and Myrrha.

Worst moments of the album: To Cassiopeia.

Released in 2025 Klonosphere Records/Season of Mist

Track listing
1. Ulysses’ Lies 5:00
2. Death Experience 6:44
3. The Royal Way 4:48
4. To Cassiopeia 2:45
5. Dark Matter 4:17
6. Storm Dancer 4:51
7. BlaAst 6:19
8. Achilles’ Choice 4:49
9. Myrrha 4:20
10. Cosmogony 6:07

Band members
Florian Vasseur – vocals
Christofer Fraisier – guitars
Robert Desbiendras – bass
Gilles Masson – drums

Album Review – Dream Theater / Parasomnia (2025)

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American Progressive Metal masters are back to their roots with their breathtaking sixteenth studio effort, a thematic concept album about parasomnia and all disruptive sleep disorders.

The band’s first studio album to feature original drummer Mike Portnoy since their 2009 opus Black  Clouds & Silver Linings, the excellent Parasomnia is more than just the sixteenth studio album by American Progressive Metal masters Dream Theater, but a return to their roots, representing both where they came from and where they’re going as not only bandmates, but as brothers. Mixed and mastered by Andy Sneap at Backstage Studios, produced by John Petrucci, engineered by James “Jimmy T” Meslin, and displaying a classy artwork by Hugh Syme, the new offering by vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess, and drummer Mike Portnoy is a thematic concept album about parasomnia, encompassing a wide range of unusual and undesirable experiences and behaviors people experience in their sleep, also known as disruptive sleep disorders, all embraced by the band’s undisputed, unparalleled sound that catapulted them to stardom over 40 years ago.

It all begins with the poetically titled intro In the Arms of Morpheus, with all background sounds in its first few moments making it feel like the soundtrack to a psychological thriller, setting the stage for Night Terror, with it’s nine breathtaking minutes offering us all a darkly catchy chorus (“Night terror / Hysteria / Nocturnal trial by fire / Eyes open wide but I can’t see”) and the always phenomenal drumming by the returning Mr. Portnoy, as well as the scorching riffs by John Petrucci. Their technical, progressive sounds keep stunning us all in A Broken Man, with John Myung’s bass overflowing heaviness supported by the classic keys by Jordan, sounding like old school Dream Theater for our total delight, morphing into the ten-minute aria Dead Asleep, another explosion of Progressive Metal led by the powerful vocals by James, with all of its breaks, variations and intricate passages inviting us all to a wild, enfolding musical journey to a world of dreams and nightmares.

A cryptic, atmospheric start gradually evolves into the most dynamic, fastest and heaviest of all songs, entitled Midnight Messiah, with James’ vocals being flawlessly boosted by John Petrucci’s riff attack while Mike hammers his drums in great fashion until the very last second. Then we’re treated to the whimsical, ethereal interlude Are We Dreaming?, heightening our senses for Bend the Clock, a beautiful, enfolding ballad where James declaims the song’s dark lyrics with tons of passion (“Worn down wearing thin / Hellish dreams / Tormenting scenes / Shadows looming / I’m paralyzed, can’t move / Scared and confused”) while his bandmates embellish the airwaves with their superb sounds. Finally, get ready for a 20-minute feast of first-class Progressive Metal in The Shadow Man Incident, with the hard-hitting drums by Mike and the rumbling bass by John Myung dictating the song’s thrilling pace while Jordan’s keys sound phantasmagorical, offering so many layers, striking moments and tempo changes it’s hard to put all that into words. Let’s say that if the album only contained this specific song, it would have already been fantastic.

“When you listen to this, I hope you’re able to hear, the excitement, the camaraderie, and feeling of being reunited as brothers,” affirms John Petrucci. “All of that is reflected in the music. It’s very driven and purposeful. I hope it sounds like the Dream Theater you remember and recall when Mike was in the band, but maybe even a little more elevated.” In the end, Parasomnia, available in full on most streaming platforms like Spotify, is dynamic, dramatic, and definitive Dream Theater, and you can show the band how much you love their new album by giving them a shout on Facebook and on Instagram, and obviously by purchasing a copy of the album from Century Media/InsideOut Music or by clicking HERE. In their 1999 masterpiece Metropolis Pt. 2: Scenes from a Memory, the album ends with the sentence “Open your eyes, Nicholas!”, while in their new album the last songs ends with “Wake up!” Would that be a sign of where the band is headed to in the future, by looking into their own past? Well, as long as their upcoming albums are as stunning as Parasomnia, we can rest assure Dream Theater will surely keep “waking us up” with more of their absolutely captivating music.

Best moments of the album: Night Terror, Midnight Messiah, Bend the Clock and The Shadow Man Incident.

Worst moments of the album: None.

Released in 2025 Century Media/InsideOut Music

Track listing
1. In the Arms of Morpheus 5:22
2. Night Terror 9:55
3. A Broken Man 8:29
4. Dead Asleep 11:06
5. Midnight Messiah 7:58
6. Are We Dreaming? 1:28
7. Bend the Clock 7:24
8. The Shadow Man Incident 19:32

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

Album Review – Vultur / Cultores de Perdas e Linna (2025)

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One of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language returns with a magnificent opus dedicated to the occultism and folk superstitions of their homeland.

Aggressive, unmerciful and fast-paced, showcasing intriguing riffs and a certain degree of dark violence, Portoscuso, Sardinia, Italy’s most devilish Black Metal horde Vultur, one of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language, with themes about Sardinian occultism and folk superstitions, returns to the battlefield with their third full-length opus, entitled Cultores de Perdas e Linna, following up on their critically acclaimed 2014 album Ogu Liau. Recorded by Alberto Bandino at Cut Fire Mixing Studio, and displaying a grim artwork by the band’s own bassist Maristella Spanu (taking inspiration from the Sardinian popular mask “Su Boe”, one of the most important characters of Sardinian Carnival tradition), Cultores de Perdas e Linna, which means “stone and woods worshippers” (which is how Christians derogatorily defined the ancient Nuragic population), features eight songs overflowing darkness, brutality and, of course, Sardinian occultism and folklore, all masterfully brought into being by vocalist and guitarist Nicola Fulgheri (aka Attalzu), guitarist Nicola Spaziani, bassist Maristella Spanu, and drummer Lorenzo Balia.

Attalzu wastes no time and begins vociferating rabidly from the very first second in Su Frastimu, a pulverizing, sinister Black Metal onrush that gets even more cryptic thanks to its words in Sardinian Campidanese; and Maristella and Lorenzo fire a Marduk-like evil kitchen in Eternu Trumentu, again darkening the skies in the name of classic Black Metal. The band shows absolutely no signs of slowing or toning down their music in Su Spegu, with Lorenzo smashing his drums like a beast accompanied by the visceral riffage by Attalzu and Nicola. And Maristella continues to hammer her ruthless bass in Femina Mala, while Attalzu summons absolute darkness through his devilish growls.

After such a hurricane of Black Metal, we have the atmospheric interlude Arestis, setting the stage for Vultur to crush our damned souls in Cultores Lapides et Lignea, with the deep, imposing vociferations by Attalzu sending shivers down our spines while Lorenzo once again sounds demonic behind his drums, not to mention the scorching riffage by Nicola transpires Black Metal magic. Then adding the heaviest elements from Death Metal to their core sonority, its time for a deep, infernal tune by the quartet named Umbras, where all instruments sound as austere as possible, in special the demented drums by Lorenzo, flowing into the beyond atmospheric Nemini Parco, starting in a somber Gregorian chant manner before exploding into one final blackened attack by the band, led by the infuriated riffs and bass by Nicola and Maristella, respectively.

Sardinia is the island whose ancient population dates back to the Bronze Age, featuring a rich archaic history and culture, and whose folklore still breaths nowadays within its fond population. Having said that, it’s truly amazing that a band like Vultur also helps to keep that spirit alive through Black Metal, which is in my humble opinion the perfect music genre to represent any form of folklore or occultism, and Cultores de Perdas e Linna is a flawless depiction of the band’s talent and devotion to their homeland, being highly recommended for fans of Satyricon, Marduk, Mayhem, Immortal, Dissection, and Rotting Christ, among others. You can find those Italian creatures on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their new album from the Masked Dead Records’ BandCamp or webstore as a CD or as a very special Cultores de Perdas e Linna CD + Unholy Impurity CD bundle. Sardinian folklore has always been a very interesting and vibrant topic, but let’s say Vultur definitely know how to spice it up considerably armed with their breathtaking Black Metal attack.

Best moments of the album: Su Frastimu, Cultores Lapides et Lignea and Umbras.

Worst moments of the album: None.

Released in 2025 Masked Dead Records/Sulphur Music

Track listing
1. Su Frastimu 4:11
2. Eternu Trumentu 5:30
3. Su Spegu 3:53
4. Femina Mala 4:33
5. Arestis 2:25
6. Cultores Lapides et Lignea 5:20
7. Umbras 4:01
8. Nemini Parco 5:20

Band members
Nicola Fulgheri – vocals, lead guitars
Nicola Spaziani – guitars
Maristella Spanu – bass
Lorenzo Balia – drums

Guest musician
Federico Ruggiu – acoustic guitar and bass, effects

Album Review – Light Dweller / The Subjugate (2025)

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Vocalist and multi-instrumentalist Cameron Boesch strikes again with his fifth album, delving into themes of death, purgatory, and the cessation of time.

Founded in December 2017 by vocalist and multi-instrumentalist Cameron Boesch in Phoenix, Arizona, in the United States, Dissonant Death/Black Metal entity Light Dweller is set to release its fifth offering, entitled The Subjugate. Inspired by a broad spectrum of dissonant and melodic influences, including Cosmic Putrefaction, Defacement, Mesarthim, Convulsing, Violet Cold, Mare Cognitum, and more, Light Dweller has forged a unique path through the darker, more obscure realms of metal, with The Subjugate spanning six tracks delving into themes of death, purgatory, and the cessation of time, presenting a cohesive journey through these concepts, all embraced by another ass-kicking artwork by Adam Burke of Nightjar Illustration.

Cameron begins his riff and growl attack in full force in Echoes from the Spectral Void, offering our avid ears four minutes of top-of-the-line Progressive Death Metal; whereas Cessation of Time sounds as demolishing and experimental as the opener, with Cameron’s deep guttural walking hand in hand with his intricate yet heavy-as-hell drumming. Then a sinister intro evolves into another darkened amalgamation of sounds in Fracturing Light, where Cameron lets his Progressive Metal vein pulse harder than ever, and with his demonic gnarling matching perfectly with the music; followed by the eight-minute title-track The Subjugate, where Cameron invests in a very diverse and progressive sound by bringing into being several breaks, variations, and experimental and sharp sounds, all combined in a harmonic yet visceral way. In the second to last song of the album, titled Phasing Through the Veil, our one-man band shows no mercy for our souls with his demented riff, bass and drum attack, with its phantasmagorical ending flowing into Adrift the Expanding Nothingness, another bestial tune overflowing insanity and heaviness where he fires his most experimental riffs of the entire album, smashing our minds and souls mercilessly during its hellish seven minutes.

With each release, Light Dweller has evolved, skillfully weaving dissonance with melody, and balancing intense aggression with haunting, introspective passages, culminating now in 2025 with the excellent The Subjugate, and of course pointing to an even more interesting path ahead for Cameron. You can get to know more about him, his music and other details by following Light Dweller on Facebook and on Instagram, and show him your utmost support by streaming his music on Spotify or any other streaming service, and of course by purchasing The Subjugate from the Avantgarde Music’s BandCamp or from Sound Cave. This is undoubtedly Cameron’s strongest opus to date, but I’m sure we’ll hear a lot more from him in the near future, and we’ll say the same about his upcoming albums, as Light Dweller is always evolving, always looking forward, and always ready to surprise us all with its unique sounds.

Best moments of the album: Echoes from the Spectral Void and The Subjugate.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Echoes from the Spectral Void 4:29
2. Cessation of Time 5:20
3. Fracturing Light 4:45
4. The Subjugate 8:10
5. Phasing Through the Veil 4:38
6. Adrift the Expanding Nothingness 7:39

Band members
Cameron Boesch – vocals, all instruments

Album Review – Exhalus / Inexorable Decay EP (2025)

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An unpredictable Drone and Doom Metal entity from Finland returns with a beyond unique EP, featuring the raw, repetitive structures that have always been its core while also pushing into a more progressive direction.

Hailing from Lohja, a town in Finland located in the southern interior of the country (and home of a statue of the world’s saddest miner), Experimental/Progressive Drone/Doom Metal project Exhalus, the brainchild of vocalist and multi-instrumentalist Mircea Purdea, will darken your minds with its newborn EP, entitled Inexorable Decay, the follow-up to the 2022 album Failed Rituals to Ascend. Featuring the raw, repetitive structures that have been the core of Exhalus music throughout its 19 years of existence while also pushing into a more progressive direction, the EP is perhaps the project’s most experimental one yet. Furthermore, while it’s not the first one to use synthesized clean vocals, it’s the first that uses them this extensively, giving an extra touch of uniqueness to the whole album when compared to all of its previous releases.

The opening track Erosion sounds utterly sluggish, vile and disturbing from the very first second, with its deep gnarls and sharp riffage working as the soundtrack to a grim horror movie, followed by Vortex, offering a weird, unique fusion of metallic and groovy guitars and bass with eerie vocalizations, or in other words, it’s the epitome of Experimental Drone and Doom Metal. Mircea keeps hammering his guitar and bass in Grinder, again blending the past, present and future of experimental music while also presenting massive beats that add an extra dosage of heaviness to the overall result. Surrender continues from where the previous song ended, bringing to our avid ears wicked guitar lines and a complete sense of lunacy and despair during its three instrumental minutes; and last but not least, the EP ends with Faded, setting a serene mood to the sound of the piano that remains until the very end.

In the end, while at its core the music still had the approach of Drone Metal and the misery of Doom Metal, the structure became more and more progressive, with most songs on the EP not even being considered metal (if there’s a limit to what metal can be). Hence, if you want to know more about this uncanny entity from the land of ice and snow, you can find Exhalus on Facebook, stream more of its music on Spotify, and purchase a copy of Inexorable Decay from BandCamp (keeping in mind the CD digipak version of the album is limited to 50 copies only). No one knows what’s next for Exhalus, and I dare to say not even Mircea Purdea, keeping the project as fresh and vibrant as it’s mysterious and unpredictable, exactly how the fusion of Drone and Doom Metal shall always be.

Best moments of the album: Erosion and Grinder.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Erosion 2:43
2. Vortex 2:24
3. Grinder 3:26
4. Surrender 3:18
5. Faded 2:31

Band members
Mircea Purdea – vocals, all instruments

Guest musicians
Topias Jokipii – vocals on “Erosion”
Chris Kembry – guitars on “Faded”

Album Review – Shadow of the Talisman / As Above, So Below (2025)

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Behold this concept album of first-class Alternative Metal introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw.

An Alternative Metal band from Flint, Michigan that takes concept rock to the next level while striving to unite all facets of the metal scene through complex musical journeys and heart-wrenching lyrics, and a community where every metalhead can find something perfect for them, Shadow of the Talisman are ready to kill armed with their debut opus, entitled As Above, So Below. Recorded at Raydon Studio with the help of Mark Stewart, serving as co-producer and mix engineer, the debut by vocalist Mike Smith, guitarists Zack Harrison and Owen Summerland, bassist Elijah Kinney, and drummer Kyle Williams is a concept album introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw. This tragic devil’s plaything loses his reality like a dollar bill in a hurricane, and goes straight to a fiery Hell where a deal is made and the remains of his soul, shattered. When The Outlaw resurfaces on Earth as a gunslinging demon, he wreaks havoc in Westerntown, a metaphor for the civilized society this miscreant trashes and shreds. And even though he eventually has a change of heart, there is no future for him but to return to the Hell that forged him, where he is destined to annihilate The Dark One and become the new ruler of the underworld.

Just hit play and the band already comes ripping with six minutes of heaviness in the opener Arise, with its cinematic intro inviting us all to their metal feast spearheaded by the enraged roars by Mike; and Mike’s vocals remind me of the great John Bush in What Is Real?, while Zack and Owen deliver tons of heaviness and melody through their axes. Kyle and Elijah then bring the groove in Fiery Descent while Mike continues to scream the story of The Dark One and The Outlaw for our total delight, whereas Elijah’s metallic bass sets the tone in Dead with the Devil, offering a thrilling fusion of Alternative and Groove Metal, with Kyle hammering his drums until the song’s very last second.

The second half of the album begins with a song dedicated to The Outlaw, again showcasing the band’s dexterity and passion for melody and groove while remaining as heavy as possible. Then a Southern Rock-inspired intro evolves into Cursed, a ballad that sounds as if it was taken from an Avenged Sevenfold album. It could have been slightly shorter, though. Lastly, we have the two-part song that gives the name to the album, starting with As Above, perfect for some nice headbanging, for nonstop horns raising and for screaming it along with Mike, with its last part being a display of melodious, passionate riffs and solos by Zack and Owen, flowing into So Below, a beyond heavy and fulminating tune crafted by the band where their modern-day Groove Metal vein pulses harder than ever, putting a climatic, epic conclusion to the album and therefore to its background story.

A metallic tornado of genres and mediums swirled into a sensational horror story told through funky, break-oriented Alternative Metal featuring powerful vocals and intricate, raucous instrumentals, As Above, So Below will undoubtedly carve the name of Shadow of the Talisman in the current American metal scene, and you can put your dirty hands on such an electrifying album by clicking HERE or HERE. Don’t forget to also give the band a shout on Facebook and on Instagram, and to stream their incendiary music on YouTube, Spotify or any other streaming platform. Will we hear from The Dark One and The Outlaw again in the future, maybe in a new concept album by Shadow of the Talisman? As the answer to that is a mystery for now, let’s keep banging our heads to the fury blasted in As Above, So Below, one hell of an album (pun intended) from the modern American Alternative Metal scene.

Best moments of the album: Arise, Dead with the Devil and So Below.

Worst moments of the album: Cursed.

Released in 2025 Eclipse Records

Track listing
1. Arise 6:01
2. What Is Real? 5:43
3. Fiery Descent 3:09
4. Dead with the Devil 3:50
5. The Outlaw 5:16
6. Cursed 6:09
7. As Above 8:01
8. So Below 9:29

Band members
Mike Smith – vocals
Zack Harrison – guitar
Owen Summerland – guitar
Elijah Kinney – bass
Kyle Williams – drums

Album Review – Avulsed / Phoenix Cryptobiosis (2025)

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Spain’s own Death Metal veterans return in full force with a pulverizing new album, raising their violence to another level, sounding as brutal, heavy, intense and catchy as always.

With the new line-up in exhilarating form and a final touch of gore soaked magic applied by the mixing of Alejandro Lobo at Acórdica Studios, the mastering of Davide Billia at MK2 Studio, and a venomous artwork by Ukrainian illustrator Daemorph, the pulverizing Phoenix Cryptobiosis represents Madrid, Spain-based Death Metal veterans Avulsed at the peak of their form. Currently formed of the iconic frontman Dave Rotten, guitarists Victor Dws and Alejandro Lobo, bassist Alex Nihil and drummer Santiago Arroyo “GoG”, Avulsed are on absolute fire in their eighth studio album and the follow-up to their 2013 opus Ritual Zombi, raising their violence to another level, sounding as brutal, heavy, intense and catchy as always, turning the album into a pure delight for fans of Demigod, Carcass, Bolt Thrower and Cannibal Corpse, among others, with each track having a wealth of haunted vaults to explore (and you’ll just want the bloodshed to keep on coming).

Limbs Regeneration is evil, haunting and embracing form the very first second, an extended intro that will decimate your blackened minds before we face Lacerate to Dominate with its poetic yet caustic lyrics barked by Dave (“In the realm of shattered dreams / Where agony reigns supreme / Razor’s edge a bloodied gleam / Lacerate to crush the dream”) amidst a brutal Death Metal atmosphere. It’s time to open up the circle pit and begin the slamming feast with Blood Monolith, with Victor and Alejandro firing classic Death Metal riffs while Santiago hammers his drums nonstop, and they need less than three minutes to smash us like disgusting insects in Unrotted, followed by the also pulverizing Guts of the Gore Gods, with Santiago and Alex hammering their rumbling drums and bass, respectively, in the name of old school Death Metal. After such an overdose of violence, the title-track Phoenix Cryptobiosis brings to our avid ears that sinister, sluggish and gory version of Death Metal we all learned to love so much, and the final result is truly infernal.

Santiago then sets the pace with his classic beats in the fast and furious extravaganza titled Devotion for Putrefaction, with Dave once again melting our faces with his deep guttural roars, followed by Neverborn Monstrosity, five minutes of pure Death Metal showcasing the band’s passion for the extreme and an intense, bold atmosphere, with the riffage by Victor and Alejandro exhaling rage. They keep the momentum going with Dismembered, another savage display of Death Metal made in Spain where Dave sounds possessed on vocals; and Bio-Cadaver, carrying a charming name for an overdose of brutality, heaviness and gore blasted by Dave and his henchmen. Last but not least, Santiago brings an extra dosage of rage and insanity to their music in Wandering Putrid Souls, inviting us all to slam into the pit one final time together with those beyond talented servants of the extreme.

In a nutshell, Phoenix Cryptobiosis is everything you could desire from an unwavering, undiluted Death Metal album in this age of fractured loyalties and pandering to the thin-blooded masses, bringing forward a band that takes no prisoners in their quest for extreme music. Hence, you can join those Spanish metallers on Facebook and on Instagram to stay up to date with everything surrounding them, including their live concerts, stream their sick music on YouTube and on Spotify, and of course grab a copy of the infernal Phoenix Cryptobiosis from Xtreem Music’s BandCamp or webstore. Avulsed are coming in full force to crush our putrid bodies armed with their new album, and you better be prepared because impact is imminent, and it will be absolutely violent.

Best moments of the album: Blood Monolith, Devotion for Putrefaction and Dismembered.

Worst moments of the album: Limbs Regeneration.

Released in 2025 Xtreem Music

Track listing
1. Limbs Regeneration 2:55
2. Lacerate to Dominate 5:01
3. Blood Monolith 4:15
4. Unrotted 2:39
5. Guts of the Gore Gods 3:03
6. Phoenix Cryptobiosis 4:23
7. Devotion for Putrefaction 3:27
8. Neverborn Monstrosity 5:12
9. Dismembered 4:40
10. Bio-Cadaver 3:53
11. Wandering Putrid Souls 4:57

Band members
Dave Rotten – vocals
Victor Dws – guitars
Alejandro Lobo – guitars
Alex Nihil – bass
Santiago Arroyo “GoG” – drums

Album Review – Sepulchral Curse / Crimson Moon Evocations (2025)

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This ruthless Finnish horde demonstrates their unmatched ferocity and craftmanship in their third studio album, cementing their place at the very zenith of the global Blackened Death Metal scene.

Arriving merely two years after their bold leap forward with Abhorrent Dimensions, Crimson Moon Evocations, the third full-length opus by Turku, Finland-based Death Metal creature Sepulchral Curse, paints a vivid portrait of a band at their creative and productive peak. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered by Are Kangus, and displaying a dark and sinister artwork by Mark Erskine, the new album by vocalist Kari Kankaanpää, guitarists Jaakko Riihimäki and Aleksi Luukka, bassist Niilas Nissilä, and drummer Johannes Rantala demonstrates their unmatched ferocity and craftmanship, cementing their place at the very zenith of the global Blackened Death Metal scene.

The guitars by Jaakko and Aleksi rev up the band’s deadly engine in Wildfires, quickly morphing into a bestial Death Metal extravaganza to the crushing drums by Johannes, who sounds even more infernal in House of The Black Moon, with Kari’s utterly deep guttural adding an extra touch of heaviness to the band’s core Blackened Death Metal. Then the band goes full Death Metal in The Locust Scar, with the guitars by the band’s axed duo exhaling heaviness and hatred, whereas a sluggish, Doom Metal-infused start gradually evolves into another demented beast by Sepulchral Curse entitled Beneath The Dismal Tides, with Niilas and Johannes building the heaviest ambience of all songs armed with their demonic kitchen.

Then investing in a more melodic sonority it’s time for Empress of The Dead, without of course forgetting the band’s trademark bludgeoning sounds; whereas their second to last sonic attack comes in the form of The Currents of Chaos, with Kari roaring deeply like a demonic creature supported by the vile riffs by Jaakko and Aleksi. Finally, the band brings forward Crimson Passages, again blasting our damned souls with their Doom Metal-infused blackened sounds, showcasing crisp, piercing guitar lines in paradox with the inhumane, gruesome gnarls by Kari, resulting in not only one hell of a bestial song, but also putting a beyond phantasmagorical and haunting conclusion to one of the heaviest albums of the year.

“The backbone is death metal,” states vocalist Kari Kankaanpää about their newborn beast, “but we’ve never shied away from exploring new inspirations and influences, which shape the unique edge synonymous with Sepulchral Curse. Music needs to be dark, heavy and furious!” Crimson Moon Evocations indeed takes an even deeper dive into who Sepulchral Curse are and crystallizes the essence of their sound, helping the band to ascend to the pinnacle of Blackened Death Metal. Hence, if you want to “stay cursed” as the band’s frontman likes to say, you can find the band on Facebook and on Instagram, stream their wicked creations on Spotify or any other streaming service, and obviously grab a copy of their new album from the Dark Descent Records’ BandCamp or webstore in the US and the EU, or simply click HERE for all things Sepulchral Curse. In a nutshell, Crimson Moon Evocations is utterly dark, evil and, more important than that, extremely heavy, paving a fantastic path ahead of those Finnish beasts in the years to come.

Best moments of the album: House of The Black Moon, Beneath The Dismal Tides and Crimson Passages.

Worst moments of the album: None.

Released in 2025 Dark Descent Records

Track listing
1. Wildfires 4:58
2. House of The Black Moon 6:09
3. The Locust Scar 5:06
4. Beneath The Dismal Tides 5:29
5. Empress of The Dead 6:39
6. The Currents of Chaos 5:09
7. Crimson Passages 6:11

Band members
Kari Kankaanpää – vocals
Jaakko Riihimäki – guitar
Aleksi Luukka – guitar
Niilas Nissilä – bass, backing vocals
Johannes Rantala – drums

Album Review – Crown of Madness / Memories Fragmented (2025)

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An up-and-coming duo from Canada attacks with their first album, unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive.

Port Coquitlam, British Columbia, Canada-based Dissonant Death Metal duo Crown of Madness has put out a slew of short-form releases, improving upon their sound with each one and culminating in their first full-length opus that sees the most evolved version of their music so far, entitled Memories Fragmented. Displaying an apocalyptic artwork by Erskine Designs, the new album by Sunshine Schneider on vocals, guitars and bass, and Connor Gordon on drums happens to be unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive, and that poignant, introspective mood pervades their entire album, being therefore highly recommended for fans of Ulcerate, Devenial Verdict, Dysgnostic, and Gorguts, among others.

The beyond cryptic, devilish intro Visions From A Past Life will penetrate deep inside our psyche before the duo crushes our souls in Sovereign Blood, with Sunshine sounding amazing with her harsh vociferations and dissonant riffs, supported by the demolishing drums by Connor; and the same Connor continues to show his undeniable dexterity in Burdened, offering Sunshine exactly what she needs to shine with her she-demon gnarls. Ashes of Mine is another classy, visceral fusion of Death Metal with Dissonant, Experimental and Avantgarde Death Metal, perfect for some mosh pit action; and Sunshine and Connor sound even more in sync in When I Don’t Remember You, darkening the skies to their gripping riffs and blast beats.

The second half of the album begins in full force with Deafening, bringing forward two and a half minutes of top-of-the-line Dissonant Death Metal, inspiring the duo to sound even more demented in Sea of Fangs, in special Sunshine with her deep, venomous roars. Dreamless Nights No Longer brings to our avid ears an avalanche of Stygian, dissonant sounds by Sunshine and Connor that will invade our deepest thoughts, sounding ruthless form start to finish, and they keep blasting our senses with another cryptic tune entitled Hollow Thresher, which could have been slightly heavier or more dynamic, though. And lastly, we’re treated to The Grand Design, presenting more of their amalgamation of dark, doomed styles with pure insanity.

In a nutshell, Memories Fragmented is a beautifully tempered album underpinned by unforgettable melodies, an ambitious release but one completely devoid of pretence, which is bound to be regarded as one of the standout albums in the style in the years to come. Having said that, don’t forget to go check what the duo is up to on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of such an incendiary album from the duo’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, EU store, or US store. This is first-class, unparalleled Death Metal made in Canada by a beyond talented duo, and I bet you’ll fall in love with them once you let the music found in their newborn spawn be the soundtrack to your own fragmented memories.

Best moments of the album: Sovereign Blood, When I Don’t Remember You and Dreamless Nights No Longer.

Worst moments of the album: Hollow Thresher.

Released in 2025 Transcending Obscurity Records

Track listing
1. Visions From A Past Life 2:30
2. Sovereign Blood 3:43
3. Burdened 3:06
4. Ashes of Mine 4:46
5. When I Don’t Remember You 4:32
6. Deafening 2:30
7. Sea of Fangs 3:52
8. Dreamless Nights No Longer 3:53
9. Hollow Thresher 2:56
10. The Grand Design 4:13

Band members
Sunshine Schneider – vocals, guitars, bass
Connor Gordon – drums