Category Archives: 2025 New Releases

Album Review – Irae / Promiscuous Fire EP (2025)

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Get ready for 23 minutes of timeless, medieval darkness masterfully crafted by one of the most sulfurous names of the Portuguese Black Metal scene.

A member of the infamous “Black Circle” together with Decrepitude, Mons Veneris, Rainha Cólera and Vetala, Lisbon, Portugal-based Black Metal entity Irae is unleashing upon humanity a sulfurous new EP titled Promiscuous Fire, following up on its critically acclaimed 2022 opus Assim na Terra como no Inferno. In Promiscuous Fire, the lone wolf Vulturius on “fires of tradition and demonic vengeance” (aka vocals, guitars and bass) is joined by guest J Goat on “apocalyptic beats, necromantic creations and doom” (aka bass, additional vocals and drum programming), plus guest vocals by Obskuritatem on two of the four songs, spreading pitch black darkness that only gets even more obscure to the venomous mastering by D.S. at Noise Portrait Recordings and the Stygian artwork by Ainul Iblis.

It’s pure old school Black Metal from the very first second in The Curse of Lael, led by the demonic gnarling by Vulturius, who’s also ruthless armed with his sulfurous axe, delivering caustic, visceral riffs nonstop; followed by Vinho de Gólgota, another fulminating explosion of Black Metal madness by Vulturius supported by J Goat and his thunderous bass. Furthermore, Vulturius vocals couldn’t have sounded more demonic, sending shivers down our spines throughout the entire song. Porco de Satanás continues to showcase Vulturius’ deep passion for extreme music and the dark arts, with the additional vocals by guest Obskuritatem bringing a welcome touch of dementia and evil to the overall result, whereas Endless Circle sounds and feels as disturbing, evil and thunderous as the other songs of the EP, with Vulturius being a beast incarnate on vocals once again to properly end the album on a high and demonic note.

For those who think Irae is “just” a raw Black Metal band, Promiscuous Fire will prove to be quite a reckoning. While by no means “polished” per se, there’s a decidedly refined amalgamation of cleaner tones and classic Black Metal songwriting in a Second Wave style, or in other words, it’s simply 23 minutes of timeless, medieval darkness, and you can savor all that by streaming the EP and all of the band’s previous releases on Spotify, and of course by purchasing a copy of the EP from BandCamp or from Signal Rex. Vulturius shows no mercy for our putrid, useless souls in his newborn opus, forged in the fires of the beautiful Lisbon, ready to spread his dark wings upon humanity and to keep carrying the torch of old school Black Metal for many years to come under his diabolical beast Irae, and I bet all fans of the darkest side of music will love to hear more from him sooner than later as his new EP is indeed amazing.

Best moments of the album: Vinho de Gólgota and Porco de Satanás.

Worst moments of the album: None.

Released in 2025 Signal Rex

Track listing
1. The Curse of Lael 6:06
2. Vinho de Gólgota 5:10
3. Porco de Satanás 6:30
4. Endless Circle 4:56

Band members
Vulturius – vocals, all instruments

Guest musicians
J Goat – bass, additional vocals, drum programming
Obskuritatem – additional vocals on “Porco de Satanás” and “Endless Circle”

Album Review – Belle Morte / Pearl Hunting (2025)

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Let the music by this global collaboration of sound and spirit crafted by one of the most innovative acts of the current Gothic and Symphonic Metal scene worldwide penetrate deep inside your soul.

Emerging as one of the most innovative acts of the current Gothic and Symphonic Metal scene worldwide, Minsk, Belarus-based Belle Morte returns with their highly anticipated sophomore album, titled Pearl Hunting, following up on their critically acclaimed 2021 debut Crime of Passion. Known for their dark, gothic edge and symphonic depth, the band formed of Belle Morte on vocals, Ilya Rogovoy and Ilya Petrashkevich on the guitars, Sergey Butovsky on bass, Maria Shumanskaya on keyboards, and Rostislav Golubnichiy on drums ventures into a bold new territory with their new album in collaboration with a lineup of fantastic, multi-talented guest musicians from across the globe. Recorded across continents, the album combines the majesty of Symphonic Metal with traditional sounds from countries as far-reaching as Mongolia, Japan, and Peru, blending Eastern, Celtic, and Latin influences into a transcendent fusion.

Featuring Hunt Max Kerner, Caterina Castiglioni, Yanina Yakshevich, and Ada Rusinkiewicz, each bringing forward the unique sounds of instruments like the Celtic bouzouki and the Germanic lyre, the title track Pearl Hunting is a gentle and soothing start to the album; and Tero Kalliomäki and his jouhikko join Belle Morte in Fallen Idol, a Symphonic Metal extravaganza where the guitars by Ilya Rogovoy and Ilya Petrashkevich exhale power and passion. In Exorcism we have guest Ulziisaikhan Khoroldamba armed with his Mongolian mornin khuur and throat singing (like what the guys from The HU offer in their creations), with Rostislav making sure there’s enough heaviness in the song thanks to his pounding drums; whereas featuring Lernik Khachatrian and his Armenian clarinet duduk, Belle Morte sounds absolutely passionate and melancholic on vocals for our total delight in Blame Me, followed by Wintersleep, featuring Ella Zlotos and Marta Masciola, providing Belle Morte with exactly what she needs to shine on vocals in this whimsical ballad, all boosted by Maria’s crying violin. And in Losing Faith we face the mesmerizing pan pipes, ocarina and quena by Carlos Carty, resulting in an enfolding folk tune where traditional sounds clash with heavy riffs.

Guest Maulana Malik Ibrahim blasts the unique sounds of the suling and gamelan in Black Waters, while Belle Morte and Sergey make a stunning vocal duet in another excellent metal ballad by the band; while Emma Spinelli and Rúben Monteiro bring the sounds of the lute and the hurdy-gurdy to the band’s core Symphonic and Gothic Metal in Willow, again presenting a striking fusion of melodic vocals, metallic guitars and hammering drums. Rúben Monteiro returns with the sounds of the saz baglama and oud in September, also featuring guest vocals by Ada Rusinkiewicz, offering us all more of Belle Morte’s charming yet penetrating vocals; and featuring Hisashi, Reigen Fujii and Souzan Kato, it’s east meets west in the rockin’ feast titled Jorōgumo, where once again Rostislav’s drums sound fierce, matching with the song’s harsh vociferations. Krew, featuring Yaroslav Dzhus, Alex Pilkevych, and Ada Rusinkiewicz, is a decent ballad in their mother tongue, albeit not as compelling as the rest of the album, while lastly we have the acoustic version of Exorcism, which feels like a special bonus track offered by Belle Morte, a beautiful rendition of one of the album’s best songs.

After all is said and done, Pearl Hunting showcases Belle Morte’s evolution into global musical storytelling while incorporating an impressive range of instruments, including the Belarusian duda, the Ukrainian sopilka, the Celtic bouzouki, and the Armenian duduk, alongside the Peruvian pan pipes, the Indonesian suling and gamelan, and the Japanese shamisen, koto, and shakuhachi. Each track offers its auditory landscape, pairing the intensity of Symphonic Metal with the haunting allure of the Trinity College harp or the guttural, earthy tones of the morin khuur. Hence, don’t forget to check what Belle Morte are up to on Facebook, Instagram, and VKontakte, to stream their music on YouTube and on Spotify, and to purchase the breathtaking Pearl Hunting by clicking HERE. Pearl Hunting is more than just a Symphonic Metal album, but a declaration of the beauty of all types of music, and how important music will always be to build a stunning connection between different people and their unique cultures.

Best moments of the album: Fallen Idol, Exorcism, Black Waters and September.

Worst moments of the album: Krew.

Released in 2025 WormHoleDeath

Track listing
1. Pearl Hunting 1:46
2. Fallen Idol 5:11
3. Exorcism 5:30
4. Blame Me 4:35
5. Wintersleep 5:18
6. Losing Faith 5:11
7. Black Waters 4:44
8. Willow 5:26
9. September 4:50
10. Jorōgumo 4:51
11. Krew 4:45
12. Exorcism (Acoustic version) 5:53

Band members
Belle Morte – vocals
Ilya Rogovoy – guitars
Ilya Petrashkevich – guitars
Sergey Butovsky – bass, backing vocals, vocals on “Fallen Idol”, “Black Waters”, “Jorōgumo” and “Krew”
Maria Shumanskaya – keyboards, violin on “Wintersleep”
Rostislav Golubnichiy – drums

Guest musicians
Max Kerner – Celtic bouzouki on “Pearl Hunting”
Caterina Castiglioni – Germanic lyre on “Pearl Hunting”
Yanina Yakshevich – Belarusian duda and Ukrainian sopilka on “Pearl Hunting”
Ada Rusinkiewicz – backing vocals on “Pearl Hunting”, “September” and “Krew”
Tero Kalliomäki – jouhikko on “Fallen Idol”
Ulziisaikhan Khoroldamba – Mongolian mornin khuur and throat singing on “Exorcism”
Lernik Khachatrian – Armenian duduk on “Blame Me”
Ella Zlotos – uilleann pipes, tin whistle and low whistle on “Wintersleep”
Marta Masciola – Trinity College harp replica on “Wintersleep”
Carlos Carty – pan pipes, ocarina and quena on “Losing Faith”
Maulana Malik Ibrahim – suling, gamelan and additional vocals on “Black Waters”
Emma Spinelli – lute on “Willow”
Rúben Monteiro – hurdy-gurdy on “Willow”, saz baglama and oud on “September”
Hisashi – koto on “Jorōgumo”
Reigen Fujii – shamisen on “Jorōgumo”
Souzan Kato – shakuhachi on “Jorōgumo”
Yaroslav Dzhus – bandura on “Krew”
Alex Pilkevych – backing vocals on “Krew”

Album Review – Unreqvited / A Pathway To The Moon (2025)

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One of the most respected Post-Black Metal acts in Canada returns with its eighth studio album, emerging as a new creature with luminous, polychromatic wings and ready to soar into stellar space.

Vocalist and multi-instrumentalist 鬼 (Ghost), the mastermind behind Ottawa, Ontario’s own Post-Black Metal/Shoegaze/Ambient entity Unreqvited, has a penchant for beautiful musical creations that reveal their claws and fangs only at closer inspection after spending some time on them. This solo project is firmly rooted in Blackgaze sonic soil but has also out sent tendrils into Ambient, Post-Rock, Post-Black Metal, and other related stylistic strata, with its seventh studio album, titled A Pathway to the Moon, taking an impressive evolutionary leap. Recorded by 鬼 at Unreqvited Studio, mixed by Benjamin V. Cooligan at New Alchemy Audio, mastered by Bogdan Makarov at NƎkkomix, and with cover artwork by Bérénice (Noirs Dessins) and layout by Irrwisch Artdesign, A Pathway to the Moon emerges as a new creature with luminous, polychromatic wings and ready to soar into stellar space; yet still it bears claws and fangs, being therefore highly recommended for fans of Alcest, Harakiri For The Sky, Deafheaven and Heretoir, among others.

The soothing, ethereal intro Overture I: Disintegrate will transport the listener to Unreqvited’s emotional journey starting with The Antimatter, offering ten minutes of beautiful yet dark passages blending the venomous side of classic Black Metal with the more modern nuances of Post-Metal, while the vocals by our lone wolf 鬼 exhale despair and obscurity. The other single released, titled The Starforger, begins in a calming, enfolding manner to the minimalist guitars by 鬼 while his vocalizations also bring melancholy and peace to our hearts; followed by Void Essence / Frozen Tears, a beautifully dark composition by Unreqvited that will surely take you to the stars to the sound of its melodious guitars and stylish piano notes. Into the Starlit Beyond sounds and feels even more spiritual and pensive than its predecessors, perhaps a bit too much albeit sounding very comforting, whereas Celestial Sleep brings forward two minutes of first-class Blackgaze, with 鬼 thoroughly putting together elements from several types of music, flowing into Departure: Everlasting Dream, a beyond atmospheric track that puts a charming yet somber conclusion to the album.

In a nutshell, A Pathway to the Moon takes Unreqvited closer to a traditional rock and metal album based on its songs than ever before – yet it is also the soundtrack of a most beautiful sonic journey, and you can join our mysterious lone wolf in his musical voyage by following the project on Facebook and on Instagram, by subscribing to its YouTube channel, and of course by purchasing the album from BandCamp or by clicking HERE, available as a stunning 36-page hardcover CD-artbook including a cover version for Cornfield Chase by Hans Zimmer (from the 2014 movie Interstellar) as a bonus track, as a black vinyl LP, and as a limited ash-grey marbled vinyl LP. Having said all that, it’s time to let the luminous creature known as Unreqvited soar high to the sound of its striking new album, elevating Canadian Blackgaze to new and exciting heights.

Best moments of the album: The Antimatter, The Starforger and Void Essence / Frozen Tears.

Worst moments of the album: Into the Starlit Beyond.

Released in 2025 Prophecy Productions

Track listing
1. Overture I: Disintegrate 2:19
2. The Antimatter 10:34
3. The Starforger 8:04
4. Void Essence / Frozen Tears 9:08
5. Into the Starlit Beyond 5:23
6. Celestial Sleep 1:49
7. Departure: Everlasting Dream 5:48

CD-artbook bonus track
8. Conrfield Chase 2:07

Band members
鬼 (Ghost) – vocals, all instruments

Guest musicians
Benjamin V. Cooligan – guitar solos on “The Antimatter” and “Into the Starlit Beyond”
Jamie Turton – additional orchestration on “Overture: I Disintegrate”, “Frozen Tears” and “Cornfield Chase”

Album Review – The Sun Through a Telescope / Warm, Grey Day (2025)

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Ottawa, Canada’s own Drone, Doom and Sludge Metal lone wolf will crush our senses with his new offering, capturing the rawness of the BBC Radio One and Peel Sessions in his distinctive sound.

Incorporating elements of Post-Metal, Doom Metal, Post-Rock, Doomgaze, Psychedelic, and Ambient in his music, Ottawa, Canada-based lone wolf Leigh Newton (aka Lee Neutron) and his Drone/Doom/Sludge Metal beast The Sun Through a Telescope strike again with a brand new offering, titled Warm, Grey Day, the thirteenth release (and fourth full-length album) in the project’s already solid career. Written, recorded and mixed by Leigh himself at G-West Studios, and mastered by Topon Das at Apartment 2 Studios, Warm, Grey Day captures the rawness of the BBC Radio One and Peel Sessions, which Leigh was listening to a lot during the writing and recording of the album, being therefore recommended for fans of Godflesh, Jesu, Oranssi Pazuzu, Zeal & Ardor, and Sumac, among many others.

The album kicks off with the 12-minute experimental tune Eyes Lambent, arising from the underworld like a devilish creature, feeling like a sonic mantra where Leigh delivers minimalist, haunting sounds from his instruments before all hell breaks loose in a feast of Drone and Doom Metal. Then Leigh and his sharp riffs ignite the sluggish Fantastic Waste, overflowing melancholy and obscurity to Leigh’s harsh vociferations; followed by Pathways I, presenting eight minutes of a space and time voyage in the form of Doomgaze, with Leigh experimenting with countless sounds in the background, flowing into the harsh Pathways II, a grim fusion of Drone, Doom and Sludge Metal, with Leigh hammering his drums while also gnarling nonstop.

We’re then treated to two and a half minutes of distorted yet melodious sounds in The Mercy, working as an interlude before we face Yellow Darkyard, the second song of the album that surpasses the 12-minute mark, sounding very emotional with a striking, passionate vocal performance by Leigh, who also does an amazing job on the guitars and drums, adding an extra touch of heaviness to the overall result and ending on a high and caustic note. In Green (Again) our lone wolf offers a lighter version of his project, almost like an acoustic track with his guitars exhaling hope and peace, before the album ends with the pure Ambient track Grey, putting a whimsical conclusion to such a diverse and interesting album.

It’s been a while since our last review of any release by The Sun Through a Telescope, with the lats one being the project’s 2017 album Black Hole Smile, and I must say it’s a pleasure to get in touch once again with such a talented musician and his unique take on the genre, always pushing the boundaries and always experimenting with new sounds and techniques. Hence, if you want to give Leigh a shout you can find him on Facebook, and of course purchase a copy of Warm, Grey Day from BandCamp (with a limited run of 20 cassettes available), which is also available on all streaming services like Spotify. I don’t think it will take long for us to hear again from Leigh and his The Sun Through a Telescope as the guy seems to be unstoppable, and as long as he keeps delivering to our avid ears high quality noise like what’s found in Warm, Grey Day we’ll be more than happy with that.

Best moments of the album: Fantastic Waste, Pathways II and Yellow Darkyard.

Worst moments of the album: The Mercy.

Released in 2025 Independent

Track listing
1. Eyes Lambent 12:21
2. Fantastic Waste 6:16
3. Pathways I 8:04
4. Pathways II 5:31
5. The Mercy 2:33
6. Yellow Darkyard 12:11
7. Green (Again) 3:25
8. Grey 5:01

Band members
Leigh Newton – vocals, guitars, bass, drums, programming, samples

Album Review – Tormentor Tyrant / Excessive Escalation Of Cruelty (2025)

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This seasoned trio of musicians from Finland will crush you with their first full-length album, one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.

An ageless entity of evil featuring members from Corpsessed, Solothus, Tyranny, Profetus and Cataleptic, drawing musical influences from Death Metal’s first steps into existence, Helsinki/Järvenpää, Finland based Tormentor Tyrant will leave no survivors with their full-frontal assault of sonic devastation to the sound of their first full-length offering, titled Excessive Escalation Of Cruelty. Recorded at Furnace 5034 and Rehearsalucifer Studios, produced by Tormentor Tyrant, mastered by The Hand of Doom at Toxic Basement Studio, and displaying a sick artwork by Roni Ärling (with layout by Giorgio Spevo of Everlasting Spew Records), the new album by vocalist and guitarist S.Envenom, bassist and vocalist M.Malignant, and drummer J.Carnage is perfect for fans of Deicide, Malevolent Creation, Skeletal Remains, and Laceration, among others, resulting in one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.

The Mephistophelean intro Upheaval Of Tyranny will transport you to the ruthless world ruled by Tormentor Tyrant in Capital Of Pain, offering us all a little more than two minutes of pure savagery led by the inhumane, demented roars by S.Envenom, and let’s keep slamming into the mosh pit to the sound of Torture Divine, where J.Carnage doesn’t stop hammering his drums not even for a single second. Their feast of violence has no time to end, with Tartarean Iron Grip presenting their most destructive side thanks to another bestial performance by J.Carnage on drums; and the trio sounds absolutely merciless and possessed in Crueler Tomorrow, with M.Malignant blasting his bass nonstop while also roaring manically.

In Pit of Anguish, there’s nothing else to do but diving into the circle pit like a true metalmaniac to the demonic vocals by S.Envenom and the band’s vile riffs and classic Death Metal solos, followed by Cosmic Wild Hunt, a brutal and demented display of Finnish Death Metal where their riffs, blast beats and infernal guttural roars sound perfect for some action during their live performances. Then it feels like they’re even more infuriated in Terminal Revelation, with the ruthless drums by J.Carnage providing S.Envenom with the exact level of violence needed to distill his visceral growls; whereas Heavy Death Bombardment, the last song of the album, is just as insane as all previous tracks, where S.Envenom and M.Malignant are beasts incarnate with their riffs and solos.

There’s no extreme down-tuning, no mysticality, nor anything like that in Excessive Escalation Of Cruelty, just sheer unrelenting evil violence in the old way, and the guys from Tormentor Tyrant would simply love to hear what you have to say about their demolishing creations on Facebook and on Instagram, and you can also stream their music on Spotify and, above all that, purchase their fulminating opus by clicking HERE (mailorder) or HERE (BandCamp). The beyond talented and savage musicians from Tormentor Tyrant are not fooling around; they’re out for blood, armed with the ass-kicking Death Metal found in their new album, and you better watch out because once you’re caught into their hurricane of sonic violence, there’s absolutely no way out.

Best moments of the album: Tartarean Iron Grip, Cosmic Wild Hunt and Terminal Revelation.

Worst moments of the album: None.

Released in 2025 Everlasting Spew Records

Track listing
1. Intro – Upheaval Of Tyranny 1:16
2. Capital Of Pain 2:20
3. Torture Divine 2:17
4. Tartarean Iron Grip 3:13
5. Crueler Tomorrow 3:20
6. Pit of Anguish 2:36
7. Cosmic Wild Hunt 4:20
8. Terminal Revelation 2:33
9. Heavy Death Bombardment 4:59

Band members
S.Envenom – vocals, rhythm guitars
M.Malignant – bass, lead guitars, vocals
J.Carnage – drums

Album Review – Harakiri For The Sky / Scorched Earth (2025)

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Austria’s own Post-Black Metal duo returns with another brilliant album, a snapshot of the world we are living, a world that’s tragically broken.

Despair, loss, love, and existential struggles have always been the foundation of the distinctive sound by Austrian Post-Black Metal duo Harakiri For The Sky since their inception back in 2011, with multi-instrumentalist M.S. and vocalist J.J. having gained recognition for pushing musical boundaries with their emotionally charged blend of Atmospheric Extreme Metal and Melodic Post-Rock, Grunge and modern Hardcore, carving out a genre of their own. Now in 2025 the duo attacks again with their new tour-de-force titled Scorched Earth, following up on their critically acclaimed 2021 opus Maere. Mixed and Mastered by Kristian Kohle at Kohlekeller Studio, with cover artwork and illustrations by Brvno Gonzalez, and featuring session drummer Kerim “Krimh” Lechner, the new album by J.J. and M.S. is their way of showing how rotten and decaying our world has become. “Our society is divided to its core and peace seems further away than ever in the last decades. This is what inspired the title of the new album: ‘Scorched Earth’ is a snapshot of the world we are living, a world that’s tragically broken.”

Heal Me, featuring Tim Yatras of Austere on guest vocals, offers a classic Harakiri For The Sky sound right from the start, with its atmospheric, gentle background clashing with the harshness flowing from M.S.’s riffs and Kerim’s beats. Keep Me Longing is an eleven-minute masterpiece by the duo where once again their heavy and soothing sounds collide in a brilliant manner, with M.S.’s riffs and bass being perfectly supported by the massive beats by Kerim; and the duo keeps delivering sheer brilliance in Without You I’m Just A Sad Song, another lengthy song that doesn’t feel long at all so dynamic, vibrant and thrilling it is, with J.J. roaring in great fashion until the end. Then letting their Post-Black Metal vein pulse stronger than ever we face No Graves But The Sea, where the electrifying riffs by M.S. will inspire you to bang your head like a maniac while Kerim dictates the song’s frantic yet dark pace.

Classy, charming piano notes will penetrate deep inside your mind in With Autumn I’ll Surrender, growing into a diverse, classic Post-Metal wall of sounds with J.J. once again bursting his lungs screaming, followed by I Was Just Another Promise You Couldn’t Keep, a lovely title for a passionate display of Post-Black Metal by the duo, also bringing hints of 80’s Gothic Rock in its core essence. Then featuring guest vocalist Serena Cherry of Svalbarduk we have Too Late For Goodbyes, alternating between sheer violence and pure ethereal moments, and if you go for any of the special editions of the album you’ll be treated to two bonus tracks, their rendition for Radiohead’s Street Spirit (Fade Out), featuring guest vocalist P.G. of Groza (check out the original version from the 1995 album The Bends); and Elysian Fields (featuring guest vocals by Daniel Lang of Backwards Charm), both excellent songs leaning towards a more introspective side of the band that are definitely worth the extra investment.

“Scorched Earth is like the conclusion of all the albums we’ve done in the past, all that Harakiri For The Sky stands and stood for, musically and lyrically. This is what we stand for, this is what made us, this is our story,” commented such an extraordinary duo of heavy music about their new work of art, and you can get to know more about them on Facebook and on Instagram, stream more of their music on Spotify, and grab a copy of the majestic Scorched Earth from the AOP Records’ BandCamp or webstore, or simply click HERE for all things Harakiri For The Sky. There’s endless darkness and beauty in Scorched Earth just like in real life, not only making the album truly special and already positioning it as a strong contender for album of the year, but also working as the perfect soundtrack for the toughest moments of our lives.

Best moments of the album: Keep Me Longing, No Graves But The Sea and With Autumn I’ll Surrender.

Worst moments of the album: None.

Released in 2025 AOP Records

Track listing
1. Heal Me 7:37
2. Keep Me Longing 10:40
3. Without You I’m Just A Sad Song 10:03
4. No Graves But The Sea 8:01
5. With Autumn I’ll Surrender 8:39
6. I Was Just Another Promise You Couldn’t Keep 9:01
7. Too Late For Goodbyes 7:53

Bonus tracks
8. Street Spirit (Fade Out) (Radiohead Cover) 5:35
9. Elysian Fields 5:10

Band members
J.J. – vocals
M.S. – guitar, bass

Guest musicians
Kerim “Krimh” Lechner – drums (session)
Tim Yatras – vocals on “Heal Me”
Serena Cherry – vocals on “Too Late For Goodbyes”
P.G. – vocals on “Street Spirit (Fade Out)”
Daniel Lang – vocals on “Elysian Fields”
Jorge Cisternas & Sunvher – backing vocals

Album Review – Grave Digger / Bone Collector (2025)

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A manifesto of pure, unfiltered old school German Heavy Metal masterfully brought into being by one of the most important bands in the history of the genre, going back to their raw and energetic roots.

Back to the roots or back to the future? No matter how you call it, Teutonic Heavy Metal masters Grave Digger have recorded the first album of their undisputed career completely without keyboard passages, entitled Bone Collector. Produced, mixed and mastered at Graveyard Studio, displaying a killer AI-generated artwork, and featuring for the first time ever guitarist Tobias Kersting, the follow-up to their 2022 album Symbol of Eternity finds its way back to long forgotten trademarks, showcasing all the passion for heavy music by the iconic frontman Chris Boltendahl alongside the aforementioned Tobias Kersting on the guitar, Jens Becker on bass, and Marcus Kniep on drums.

A dark, somber intro suddenly morphs into a high-octane Heavy Metal beast titled Bone Collector, with Marcus hammering his drums manically supported by the slashing riffs by Tobias while Chris’ vocals exhale pure metal as usual. The breathtaking The Rich, the Poor, the Dying is even faster and more infuriated than the opener, with Tobias and Marcus once again sounding inhumane with their respective riffs and beats, not to mention the song’s amazing Thrash Metal vibe; and the rumbling bass by Jens kicks off the also heavy-as-hell Kingdom of Skulls, transpiring old school Grave Digger for our total delight. The Devil’s Serenade is the perfect soundtrack for a wild road trip, with Tobias and Jens slamming their stringed axes in the name of our good old Rock N’ Roll, followed by Killing Is My Pleasure, another one of the previously released songs, offering a blast of first-class pure, unfiltered Heavy Metal recommended for some action inside the pit; whereas the riffs by Tobias continue to pierce our minds in Mirror of Hate, maybe the weakest (or perhaps I should say “the least strong”) song of the album.

In Riders of Doom we can easily notice that the name of the song is not in vain, as there’s a huge dosage of cryptic doom flowing from all instruments, in special from Jens’ massive, metallic bass lines, resulting in a true headbanging, horns raising metal extravaganza; and get ready to head into the battlefield (aka the mosh pit) together with Chris & Co. to the sound of the furious Made of Madness, a lecture in Heavy Metal with a strong thrashing base where Chris once again sounds superb on vocals, all spiced up by an ass-kicking solo by Tobias. Graveyard Kings brings forward more of their thrilling fusion of Heavy and Power Metal, keeping the album at a high level of heaviness and rage, and the quartet still has a lot of fuel to burn in the incendiary Forever Evil and Buried Alive, a flawless depiction of the power and importance of the music by Grave Digger to the history of Heavy Metal. Lastly, the album ends with the six-minute doomed tune Whispers of the Damned, with Marcus pounding his drums in the name of absolute darkness.

Raw, brutal, honest and yet catchy, Bone Collector is a manifesto of German Heavy Metal, old school at its best, without rust and patina, no self-copying and always authentic. This is how the band’s new work can be described, going back to their roots, but still sounding energetic, fresh and multifaceted, and you can get in touch with the band and stay up to date with all things Grave Digger, including their upcoming 45th anniversary tour, by following them on Facebook and on Instagram, and of course be part of their metallic legacy by purchasing Bone Collector by clicking HERE or HERE. Those veterans are more than ready to dig your grave and collect your bones to the sound of their new album, keeping the fires of their undisputed Heavy Metal burning for many decades to come.

Best moments of the album: Bone Collector, The Rich, the Poor, the Dying, Made of Madness and Forever Evil and Buried Alive.

Worst moments of the album: Mirror of Hate.

Released in 2025 Reigning Phoenix Music/ROAR! Rock Of Angels Records

Track listing
1. Bone Collector 4:19
2. The Rich, the Poor, the Dying 3:25
3. Kingdom of Skulls 3:45
4. The Devil’s Serenade 4:01
5. Killing Is My Pleasure 3:29
6. Mirror of Hate 4:43
7. Riders of Doom 4:55
8. Made of Madness 3:59
9. Graveyard Kings 4:13
10. Forever Evil and Buried Alive 3:34
11. Whispers of the Damned 6:16

Band members
Chris Boltendahl – vocals
Tobias Kersting – guitar
Jens Becker – bass
Marcus Kniep – drums

Album Review – Infested Angel / Threnodies to Eternal Despair (2025)

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An up-and-coming UK Death Metal duo is ready to unleash hell with their first full-length album, taking the listener to the darkest corners of the human soul.

A blastbeat-driven Death Metal band originating from Birmingham, England, the infernal duo known as Infested Angel has honed their sound even further in their new album Threnodies to Eternal Despair, embracing intense, brutal riffs that pulse with a powerful, sorrowful melody, working as the perfect follow-up to their 2021 EP Nourish Me, Satan and their 2022 EP Submit to Death. Recorded, mixed and mastered by Greg Chandler at Priory Recording Studios, and crafted with raw rage and sorrow by vocalist and guitarist Andrew “Mick” Bryan and drummer Patryk “Pat” Kaczmarek, the album promises to take you to the darkest corners of the human soul during its intense 11 songs.

The opener No Time for Despair portrays a story of the imminent and absolute loss of all humankind in an extinction event, reflected in its devilish lyrics (“Finally, the day has come, / Incinerate, she burns the sun, / All we had plundered, / All we had framed, / No Time for Despair, / No time to revere, / Submit to Death, / Our ending is here”), while the duo offers us all six (six six) minutes of absolute darkness and hatred in the form of ass-kicking Death Metal in To Never Return. Then we have Euphony of Dismay, with its lyrics roared by Andrew dealing with a chaotic personal self-reflection on experiencing suicidal depression (“On taking my life, / Of aching and strife, / Oh how could I wish it to be, / Forced into pain, / With cowing and shame, / A ruinous ending foreseen”) in an incendiary fusion of Black and Death Metal; and it’s impressive how two guys only can make so much noise like in Dread Incorporeal, with the blast beats by Patryk sounding truly chaotic and vile.

The acoustic, introspective interlude Fields of Ashes sets the stage for the duo to kill again in Control of Fear, sounding demolishing form start to finish, with Andrew slashing his axe while he also growls rabidly until the very end. Then we have The Lost Battle, featuring composer, sound design and pianist Nathaniel Coxon, with his gentle piano notes beautifully permeating the air until all hell breaks loose to the venomous roars by Andrew and the crushing beats by Patryk; and after such a dense tune, they keep firing sulfur and darkness in Misanthropic Elegy, with Patryk once again delivering bestial yet intricate beats. Darkness Envelops is not as exciting as the previous tunes, despite its heaviness and fury, while Suffering and Retribution is another hammering slab of Death and Black Metal where Andrew delivers his most inhumane guttural of all. Nathaniel Coxon returns in Into the Night’s Embrace, a serene outro that brings some peace to our hearts to conclude the album; however, there’s still time for two bonus tracks titled The Bastard Will Materialise and Unholy Decay, both utterly vile and heavy-as-hell.

Charging depictions of tragedy, loss and existential suffering straight to the heart of the listeners that have been subject to their inimitable style, Infested Angel sound merciless throughout their newborn beast Threnodies to Eternal Despair, which you can purchase from the Art Gates Records webstore as a CD + shirt bundle, a CD + hoodie bundle, or a CD + shirt + hoodie bundle, and don’t forget to also give the duo a shout on Facebook and on Instagram, to stream their music on Spotify, or simply click HERE for all things Infested Angel. Put differently, subsume yourself now into the Infested Angel cult and submit to death, letting the music found in their new album be the ultimate soundtrack to your eulogy.

Best moments of the album: To Never Return, Euphony of Dismay and The Lost Battle.

Worst moments of the album: Darkness Envelops.

Released in 2025 Art Gates Records

Track listing
1. No Time for Despair 3:59
2. To Never Return 6:06
3. Euphony of Dismay 5:11
4. Dread Incorporeal 6:46
5. Fields of Ashes 1:32
6. Control of Fear 4:58
7. The Lost Battle 6:44
8. Misanthropic Elegy 3:52
9. Darkness Envelops 5:14
10. Suffering and Retribution 3:58
11. Into the Night’s Embrace 2:33

Bonus tracks
12. The Bastard Will Materialise 3:47
13. Unholy Decay 5:21

Band members
Andrew “Mick” Bryan – vocals, guitars
Patryk “Pat” Kaczmarek – drums

Guest musician
Nathaniel Coxon – piano on “The Lost Battle” and “Into the Night’s Embrace”

Album Review – Deus Sabaoth / Cycle of Death (2025)

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An uncanny Ukrainian Black Metal horde is ready to attack armed with their debut opus, inviting listeners to confront the idea that, in death, humanity is ultimately isolated, no matter the illusion of belief.

Playing Melodic Black Metal with elements of doom inspired by classic Baroque music, especially the works of J.S. Bach, Ukraine-based horde Deus Sabaoth, a phrase that translates to “The Lord of Hosts”, is unleashing upon us their highly anticipated debut full-length album, Cycle of Death, which was carefully mixed and mastered by Anton Vorozhtsov. Reflecting in its lyrics different perspectives on religion and the existential concerns of those who confront their mortality while rejecting any religious beliefs, delving into a personal, internal struggle, exploring the complex emotions and conflicts faced by those who question the very nature of existence, Cycle of Death is a beautiful display of extreme music by this uncanny band, pointing to a bright future ahead of them, offering us fans of the darkest side of music another beautiful creature to listen to and admire.

Massive beats and rumbling bass lines will hammer your impious souls in The Priest, with their devilish gnarls adding a touch of malignancy to the overall result, flowing into Mercenary Seer, which starts in a soothing manner before evolving into a bestial Black Metal creature with all background elements enhancing the power of their riffage. Following such bestial tune, gentle piano notes ignite Cycle of Death, offering our avid ears a melodic yet devilish fusion of Doom and Black Metal with atmospheric elements, whereas Executioner continues with the sluggish and grim vibe from its predecessor, with its slow and steady beats inspiring us for some vigorous headbanging in total darkness.

The Blind is a gripping, modern-day Melodic Black Metal extravaganza with hints of Atmospheric Black Metal, presenting penetrating yet very gentle riffs, whereas Faceless Warrior is by far one of the most detailed of all songs, with the harsh vociferations by the band’s uncanny vocalist bringing sheer darkness to the music, not to mention how grandiose all background elements (like their piano notes) sound and feel. And lastly, it’s time for one final onrush of Black Metal with doom and atmospheric elements entitled Beginning of New War, with its cryptic passages and visceral, harsh moments clashing beautifully, therefore putting a Stygian ending to the album.

“Cycle Of Death is a journey through the bleak and twisted minds of its characters, captured across seven intense tracks. The album delves deep into the contrasts between the architects of faith and the consumed followers, revealing the dark interplay between belief, manipulation, and desperation,” commented the band about their debut opus, and you can get in touch with those mysterious Ukrainian metallers via Facebook and Instagram, listen to their wicked creations on Spotify, and purchase a copy of their sulfurous album from BandCamp or by clicking HERE. Deus Sabaoth invites listeners to confront the idea that, in death, humanity is ultimately isolated, no matter the illusion of belief, and their debut album will provide us all with the perfect soundtrack to that eternal void.

Best moments of the album: Mercenary Seer, The Blind and Faceless Warrior.

Worst moments of the album: Cycle of Death.

Released in 2025 Independent

Track listing
1. The Priest 4:39
2. Mercenary Seer 4:24
3. Cycle of Death 4:28
4. Executioner 3:44
5. The Blind 4:05
6. Faceless Warrior 5:36
7. Beginning of New War 4:01

Band members
*Information not available*

Album Review – Putrid Defecation / Tales from the Toilet (2025)

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The debut album by these Finnish Brutal Death Metal newcomers delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre.

Originally envisioned as a one-man project in 2019, Espoo, Finland’s own Brutal Death Metal/Deathslam newcomers Putrid Defecation are set to unleash upon humanity their debut opus, titled Tales from the Toilet, showcasing the band’s raw intensity, moving beyond the programmed drums of earlier works to feature a complete recording lineup. Mixed by Atte Karm, mastered by Brad Boatright at Audiosiege, and with a perverse, gory artwork by Lucker Riquelme, the album delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre, all carefully crafted by vocalist Joona Pätsikkä (who unfortunately left the band in November 2024), guitarists Peter Halin and Petteri Sillanpää, bassist Johnny Grinds and drummer Alpo Laitinen, being therefore recommended for fans of Cumbeast, Torsofuck, Cerebral Incubation, and Monumental Discharge.

Introduction to Constipation is a brutal slab of Death Metal overflowing gore and madness from Joona’s deep gutturals, whereas the guitars by Peter and Petteri will inspire you for some sick slamming in Airborne Backdoor Evacuation, supported by the ruthless drums by Alpo, followed by Whirlwind of Excrement, another three minute onrush of putrid sounds led by the gruesome gnarls by Joona. Then a weird intro evolves into more of their trademark Brutal Death Metal in Unremitting Hematochezia, with the sound of their guitars exhaling violence yet feeling very melodious.

Not only the title-track Tales from the Toilet is the longest of all songs, but it’s also the most dynamic, with the pounding drums by Alpo inspiring us all to slam like true bastards, followed by Impending Anal Leakage, a one minute demented assault with the guest vocals by Jori Kemppi of Discreant and Aleksi Kiianlehto of What Awaits Us being absolutely demented; and of course the album ends with more brutality and gore in Erfurt Latrine Disaster, with Johnny blasting his bass manically while Joona keeps vomiting the song’s depraved words.

As gory and putrid as it is technical and vibrant, Tales from the Toilet is definitely an album not recommended for the lighthearted, bringing to our ears an overdose of violence crafted with endless fury and blood by those talented Finnish rockers. If you want to get your hands dirty with the music by Putrid Defecation, you can stream their wicked creations on YouTube and on Spotify, and of course purchase their new album from BandCamp or by clicking HERE. Don’t forget to also give them a shout on Facebook and on Instagram, but you better be warned that once you’re caught in a mosh of toilet slam, your soul will become so grimy and smelly you will never be able to leave their cesspool of filth.

Best moments of the album: Airborne Backdoor Evacuation and Tales from the Toilet.

Worst moments of the album: None.

Released in 2025 Stadin Rec

Track listing
1. Introduction to Constipation 1:29
2. Airborne Backdoor Evacuation 3:05
3. Whirlwind of Excrement 2:58
4. Unremitting Hematochezia 3:03
5. Tales from the Toilet 3:55
6. Impending Anal Leakage 0:56
7. Erfurt Latrine Disaster 3:11

Band members
Joona Pätsikkä – vocals
Peter Halin – guitar
Petteri Sillanpää – guitar
Johnny Grinds – bass
Alpo Laitinen – drums, vocals

Guest musicians
Jori Kemppi – vocals on “Impending Anal Leakage”
Aleksi Kiianlehto – vocals on “Impending Anal Leakage”