Category Archives: 2025 New Releases

Album Review – An Abstract Illusion / The Sleeping City (2025)

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This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.

Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.

Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.

Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.

“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?

Best moments of the album: Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07

Band members
Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals

Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”

Album Review – Battle Beast / Steelbound (2025)

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Finland’s own Heavy Metal powerhouse storms forward with unrelenting force armed with their seventh studio album, moving fluently between classic metal, superpowered synthesizers, and symphonic realms.

Three years after the critically acclaimed Circus of Doom, Finnish Heavy/Power Metal/Hard Rock powerhouse Battle Beast storms forward with unrelenting force, dropping their electrifying, highly anticipated seventh studio album, entitled Steelbound. Produced and mixed by Janne Björkroth at JKB Studios, and mastered by Mika Jussila at Finnvox Studios, the new opus by the indomitable frontwoman Noora Louhimo, guitarists Joona Björkroth and Juuso Soinio, bassist Eero Sipilä, keyboardist Janne Björkroth, and drummer Pyry Vikki moves fluently between classic metal, superpowered synthesizers, and symphonic realms, even embracing ’80s-tinged Hard Rock, resulting in a musical palette that’s powerful, engaging, and, above all, extremely fun.

Those talented and unstoppable Finnish rockers kick off another thrilling metal party with The Burning Within, offering their incendiary blend of Heavy Metal with 80’s Hard rock always boosted by Noora’s undisputed soaring vocals, followed by Here We Are, one of the singles previously released by the band which sees Janne kicking ass as usual on keys, giving the song the band’s trademark dancing vibe; whereas the title-track Steelbound sounds absolutely upbeat, with Joona and Juuso’s riffs walking hand in hand with the whimsical keys by Janne. Twilight Cabaret is another song that reeks of Battle Beast, with Noora melting our faces as usual with her hypnotic vocals supported by Pyry’s classic beats; and let’s say Battle Beast are one of the very few bands that can make happy music sound so badass like Last Goodbye thanks to Noora’s powerful vocals, while their guitars sound as electrified as they can be supported by Eero’s thunderous bass.

The second half of the album begins with the cinematic interlude The Long Road, setting the stage for the band to crush us all with Blood Of Heroes, as epic as it is imposing, bringing elements from Viking and Power Metal to their core sound, with all background vocals supporting the battle-like screams by Noora in great fashion. Joona and Juuso rev up the band’s metal engine in Angel Of Midnight, also fully inspired by 80’s rock and metal music, a radio-friendly tune that will surely please all fans of the band; and let’s keep jumping up and down and dancing with Battle Beast in Riders Of The Storm, absolutely futuristic and fun, like if it was taken from an afternoon adventure movie from the 80’s. Finally, the band closes the album on a high note with Watch The Sky Fall, a strong contender to make it to their live performances, where their guitar solos and striking keys bring an extra headbanging touch to the music.

In a nutshell, with Steelbound the band opens an exciting new chapter that offers some very heavy tracks, flirts with pop, unapologetic party anthems, and the empowering title song, or in other words, it is a thunderous monument of defiance and resilience, an earnest battle cry for all who have ever been dismissed, diminished, or silenced and also a big slab of positivity and joy. Hence, you can stay in touch with those marvelous Finnish warriors via Facebook and Instagram, subscribe to their YouTube channel, stream their striking music on Spotify, and of course grab a copy of Steelbound by clicking HERE, throwing your worries into the next trash can during the album’s 38 minutes of duration, and sing, dance, headbang, or do whatever feels right to the sound of their undisputed heavy music.

Best moments of the album: The Burning Within, Last Goodbye and Watch The Sky Fall.

Worst moments of the album: Here We Are.

Released in 2025 Nuclear Blast Records

Track listing
1. The Burning Within 3:58
2. Here We Are 3:03
3. Steelbound 4:30
4. Twilight Cabaret 3:56
5. Last Goodbye 3:34
6. The Long Road 2:12
7. Blood Of Heroes 4:06
8. Angel Of Midnight 3:27
9. Riders Of The Storm 3:51
10. Watch The Sky Fall 4:31

Band members
Noora Louhimo – vocals
Joona Björkroth – guitars, backing vocals
Juuso Soinio – rhythm guitars
Eero Sipilä – bass, backing vocals
Janne Björkroth – keyboards, orchestrations, backing vocals
Pyry Vikki – drums

Album Review – Penthos / Erevos (2025)

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This Hellenic horde will darken the skies once again with their sophomore album, conceptually dealing with dark aspects of Greek mythology while sonically delivering Black Metal in the Scandinavian vein.

Having chosen the daimon of grief, despair, and sadness for their band’s name, Athens, Greece-based Black Metal horde Penthos will unleash hell once again armed with their sophomore offering, entitled Erevos (or έρεβος in Greek, which translated into English as “Erebus” literally means “darkness”), following up on their excellent 2022 self-titled debut. Consisting of nine bleak reveries drenched in murky atmosphere, the new opus by Apaisios on vocals and guitars, Vauban and JA also on the guitars, Zizka  on bass, and Algos on drums is an album which has traditional Black Metal written all over it. Regardless of the facts that they hail from Greece and the album conceptually deals with dark aspects of Greek mythology, Erevos doesn’t sound much Greek at all; rather than sonically following in the footsteps of Necromantia or Rotting Christ, the quintet chose to create Black Metal in the Scandinavian vein.

In ancient Greek, Nekyia (νέκυια) refered to a ritual or ceremony involving the evocation of the dead, often to gain knowledge or insight about the future, while in the album it’s an atmospheric and grim tune that works as an extended intro, haunting our souls before the band comes ripping with Dancing Dead, a lecture in old school Black Metal showcasing all elements we love in the genre, from the devilish gnarls by Apaisios to the visceral riffs by the band’s guitar trio, not to mention Algos’ obscure blast beats. Bloodstained Path is another blast of pure evil and darkness by such a talented horde, with the guitars by Apaisios, Vauban and JA sounding even heavier and more piercing, dragging us to the underworld together with them; followed by Όλεθρος (Olethros), which means “destruction”, “ruin”, or “perdition”, and can refer to both physical destruction and to spiritual ruin or death, carrying a connotation of the destruction necessary for renewal, but also implying a final, devastating end. Musically speaking, it’s just as infernal and visceral as its predecessors.

In Greek mythology, Thanatos is a figure who represents death, the son of Nyx (Night) and Erebos (Darkness), and the music couldn’t have sounded more demonic, with the Stygian, evil vocalizations by Apaisios exhaling Black Metal magic. Charon then offers six minutes of absolute darkness and chaos, with the classic blast beats and fills by Algos walking hand in hand with Zizka’s menacing bass while also presenting striking guitar lines and wicked solos for our total delight; followed by Lady in Black (Witch II), the most obscure song of the entire album hands down, with all band members transpiring pure Black Metal, in special Apaisios with his evil screams from the underworld. Echoes from the Sanatorium is another detailed, multi-layered fusion of classic Scandinavian Black Metal with their Greek twist, before the album ends with another demonic Black Metal attack entitled Forlorn Voyage, where their scathing riffs and rumbling bass and drums will pulverize your senses.

Listeners won’t find any anxious attempts at innovation on Erevos; instead, the album presents a professional studio production of over 40 minutes of well-composed Black Metal in the traditional way. Hence, go check what those ruthless Greek black metallers are up to on Facebook and on Instagram, stream their venomous music on Spotify, and of course put your damned hands on Erevos by purchasing it from the Darkness Shall Rise Productions’ BandCamp or webstore (in CD, LP, or cassette formats). Penthos are ready to spread their dark wings over the entire world of heavy music with their second black mass, opening the gates of hell to the sound of their Stygian arias and, consequently, bringing sheer doom and despair to our putrid hearts and souls in the name of classic Black Metal.

Best moments of the album: Dancing Dead, Thanatos and Lady in Black (Witch II).

Worst moments of the album: None.

Released in 2025 Darkness Shall Rise Productions

Track listing
1. Nekyia 4:01
2. Dancing Dead 4:55
3. Bloodstained Path 3:58
4. Όλεθρος (Olethros) 3:48
5. Thanatos 3:59
6. Charon 6:01
7. Lady in Black (Witch II) 4:42
8. Echoes from the Sanatorium 5:32
9. Forlorn Voyage 3:20

Band members
Apaisios – vocals, guitars
Vauban – guitars
JA – guitars
Zizka – bass
Algos – drums

Album Review – Sothoris / Domus Omnium Mortuorum (2025)

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Enter the house of all the dead to the sound of the scorching newborn spawn by this ruthless Blackened Death Metal horde from Poland.

Forged in the fires of Miłosław, Poland in 2016, the ruthless Blakened Death Metal horde Sothoris arises from their Stygian lair once again to darken the skies to the sound of their newborn spawn, entitled Domus Omnium Mortuorum, or “house of all the dead” in English, following up on their 2022 sophomore album Wpiekłowstąpienie. Recorded, mixed and mastered by Krzysztof Kostencki at Tetra Wave Studio, with artwork by Bartosz Szczepaniak and Maksymilian Krasoń, and band photo session by Maciej “Wuja” Chomik, the new album by vocalist Raven, guitarists Hex and Setrial, bassist Lord Ghash, and drummer Hrist sees the band offer their trademark mixture of Black Metal ferocity and Death Metal power while its lyrical layer showcases a study of human wickedness, being therefore a must-listen for fans of extreme music with a deep and dark meaning.

A wicked intro gradually morphs into a scathing beast named Wieczornica (“evening party”), spearheaded by the hellish riffs by Hex and Setrial, whereas Szkarłat (“scarlet”) offers a more visceral display of Blackened Death Metal, with Raven gnarling rabidly like a demonic entity while the rumbling bass and blast beats by Lord Ghash and Hrist sound utterly demolishing. Then with an incandescent name like Lawa (“lava”) the music had to be absolutely scorching, which is exactly what we get, with the venomous roars by Raven crushing our putrid souls mercilessly, whereas Hrist then hammers his drums in the Behemoth-fueled Byłem Faustem (“I was Faust”), which will surely make their world renowned countrymen proud.

Dzieci Diabła (“the devil’s children”) is another thunderous display of extreme music by Sothoris, with the band’s guitar duo firing pure malignancy through their unstoppable, vile axes, and the band takes no prisoners in their quest for Black and Death Metal in Pro Memoria, or “for the sake of memory” from Latin, led by the inhumane drumming by Hrist. Needless to say, it should sound brilliant if played live. Then presenting elements of progressive music added to their core essence we have Dym (“smoke”), where Hex and Setrial once again steal the show with their heavy-as-hell riffage, and last but not least, we’re treated to one final metallic cult by Sothoris titled Piętno (“stigma”), where the bass lines by Lord Ghash will hammer your cranial skull mercilessly.

“This album uses a certain artistic game. We go back in time to the 19th century. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec,” commented frontman Raven, and if you have what it takes to enter the band’s house of the all dead, you can find those Stygian beings on Facebook and on Instagram, stream their sulfurous music on Spotify, and purchase Domus Omnium Mortuorum from BandCamp or from the Fetzner Death Records webstore as a CD or a cassette. But you better be warned, once you enter such a vile and cryptic house, your life (and death) will never be the same.

Best moments of the album: Szkarłat, Byłem Faustem and Pro Memoria.

Worst moments of the album: Dym.

Released in 2025 Fetzner Death Records/ADG Records

Track listing
1. Wieczornica 5:31
2. Szkarłat 5:43
3. Lawa 6:39
4. Byłem Faustem 6:03
5. Dzieci Diabła 4:53
6. Pro Memoria 4:52
7. Dym 4:57
8. Piętno 5:25

Band members
Raven – vocals
Hex – lead guitars
Setrial – rhythm guitars
Lord Ghash – bass
Hrist – drums

Album Review – Ofermod / Drakosophia (2025)

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This uncanny Swedish Blackened Death Metal creature returns with its fifth studio offering, a vessel for Theistic Satanism and left-hand-path esotericism in sonic form.

Lepaca Nox Draconis! Ho Drakon Ho Megas!

Steered by guitarist Belfagor (aka Mika Hakola) since 1996, having sewn influence and infamy in equal measure, the uncanny Swedish Blackened Death Metal creature Ofermod, whose name was taken from a 1953 Tolkien essay, used to describe a state of mind characterized by excessive pride, is unleashing upon humanity its highly anticipated new opus, titled Drakosophia. Recorded and produced by Swedish bassist Devo Andersson (Overflash, Marduk) at Endarker Studio, and displaying a sinister artwork by John Albin Hampus Ekberg of Mark of Cain Tattoo, the follow-up to their 2021 album Mysterium Iniquitatis offers an overdose of “Qliphotic Black Metal Magick”, a genuine Orthodox Black Metal album representing a vessel for Theistic Satanism and left-hand-path esotericism in sonic form, all carefully brought into being by Belfagor on the guitars alongside North American vocalist Adeptus, Austrian session drummer Florian Musil (Agrypnie, The Negative Bias, Theotoxin), and the aforementioned Devo Andersson on bass.

It’s a pulverizing feast of scathing Black Metal in the opening tune Aicha Kandisha, with the gnarling vocals by Adeptus transpiring evil accompanied by the ruthless drumming by Florian, whereas Devo and Florian deliver a beyond demonic kitchen in Vineyards of Gomorrah while the Stygian riffage by Belfagor summons all creatures of darkness. Then the title-track Drakosophia brings to our devilish ears a cryptic atmosphere boosted by the song’s background choirs while Adeptus continues to gnarl like a true demon, and Florian hammers his drums mercilessly while Belfagor delivers pure Black Metal from his axe in Malat Atat. After that we face the unique Zazas Zazas Nasatanada Zazas, where the music is as insane and complex as its name, and that’s simply majestic, resulting in one of their best creations to date led by the venomous gnarls by Adeptus.

Belialistic Gra’al Codex is another song with a very distinct name, where once again we see Belfagor and his horde crushing our damned souls with their infernal wall of sounds, with Florian kicking some serious ass behind his drums, followed by Nox Draconis, the most straightforward, in-your-face Black Metal song of all, with Belfagor extracting sheer malignancy from his guitar and, therefore, living up to the legacy of the style while also sounding fresh. Sinister Acolyte is just an average Black Metal tune by Ofermod, still very enjoyable but not as much as the other songs, while the last song of the album, titled The Painful Movers, is a demolishing beast blasted by the band, with the riffs and bass by Belfagor and Devo complementing each other in great fashion.

Invoked right from the beginning, Drakosophia is both classic Ofermod and a continual unfolding of their unique characteristic sound, dynamically sinister and vigorously menacing. You can find more information about Ofermod and their new opus on Facebook and on Instagram, stream their sulfurous creations on Spotify, and of course grab a copy of the album from the Regain Records’ BandCamp or from the Shadow Records’ webstore. Open your third eye and let Lucifer crush all cosmic illusions of time and space, and become born anew in the LVX of Phosphorus to the sound of Drakosophia; embrace this sonic Left Hand Path sorcery and mysticism, or stay far away from the sinister audial art of Ofermod.

Best moments of the album: Vineyards of Gomorrah, Zazas Zazas Nasatanada Zazas and Nox Draconis.

Worst moments of the album: Sinister Acolyte.

Released in 2025 Shadow Records/Regain Records

Track listing
1. Aicha Kandisha 4:03
2. Vineyards of Gomorrah 6:53
3. Drakosophia 3:56
4. Malat Atat 5:54
5. Zazas Zazas Nasatanada Zazas 4:30
6. Belialistic Gra’al Codex 5:14
7. Nox Draconis 5:04
8. Sinister Acolyte 4:51
9. The Painful Movers 4:26

Band members
Adeptus – lead vocals
Belfagor – guitars

Guest musicians
Devo Andersson – bass (session)
Florian Musil – drums (session)
Thomas Eriksson & Lars Broddesson – choir vocals

Album Review – Litania / Litania (2025)

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This Italian and Serbian entity is unleashing upon us their debut opus, offering eight tracks of evocative, hypnotic doom, where the raw power of guitars merges with the spiritual depth of Indian classical music.

Formed in 2024 by the talented and seasoned musicians Elisa De Munari (Elli De Mon) on vocals, harmonium, sitar and dilruba, Marco Degli Esposti (The Great Northern X) on the guitar and drones, Enrico Baraldi (Collars, Ornaments) on bass, and Vladimir Marikoski (The Black Heart Procession, NBG) on drums and percussions, Italy/Serbia-based Hindustan/Psych Doom Metal/Rock entity Litania is unleashing upon us their debut self-titled opus, offering eight tracks of evocative, hypnotic doom, where the raw power of guitars merges with the spiritual depth of Indian classical music. Recorded, mixed and mastered by Marco Degli Esposti and Enrico Baraldi at Happenstance Recording Studio and at Vacuum Studio, the album presents dark and intense songs interspersed with instrumental passages featuring sitar, dilruba, harmonium, and tanpura. The vocals, deep and ritualistic, draw inspiration from ancient Indian Ragas, evoking a sonic journey suspended between abyss and transcendence.

Their fusion of Hindustan sounds and the absolute heaviness of doom will smash you like an insect in Manasi Devi, the “Goddesses of Snakes” or “Serpentine Goddess”, with the vocals by Elisa bringing a welcome (and hypnotizing) touch of finesse to their music. Then investing in a more Psych Rock-oriented sonority we have Ghunghru (a musical anklet made of small metallic bells strung together, tied around the ankles of classical Indian dancers), with Enrico simply hammering his bass in great fashion, followed by Veil of Illusion, which according to the band is a chant of devotion and fire, honoring Shankara, the sage who dissolved illusion, a powerful prayer to the Lord of the Mountain’s Daughter, where silence and sound merge into oneness. Musically speaking, it offers us a perfect fusion of Doom Metal and ritualistic passages; whereas Marco and Enrico are on absolute fire with their axes in Vighnaharta (a Sanskrit term meaning “remover of obstacles” or “destroyer of impediments”), a song tailored for some good old headbanging.

Jamuniya, the Hindi name for the Amethyst gemstone, continues to pave their path of adoration for heavy, doomed sounds and the mesmerizing sounds of Hinduism, where Elisa is once again amazing on vocals while Vladimir delivers those sluggish beats we love in Doom Metal. After that, Marco’s riffage will pierce your skull in Bound, supported by the rumbling bass by Enrico and the pounding drums by Vladimir in another slab of mysterious and uncanny doom. In Shankara, a Sanskrit word meaning “beneficent,” “giver of bliss,” or “one who does good,” and also a name for the Hindu god Lord Shiva, the intro will already embrace you and drag you to the whimsical realm ruled by Litania, all of course boosted yet again by Elisa’s delicate yet visceral vocalizations, before we face Fading Light, which takes a bit too long to properly kick off, but when it does, it’s as heavy and vibrant as its predecessors.

After all is said and done, it’s impossible not to feel absolutely hypnotized by the unique and enfolding music crafted by Elisa, Marco, Enrico and Vladimir in their debut offering, showcasing Litania’s power and paving a very promising path ahead of them. Furthermore, if you want to know more about such an amazing up-and-coming band hailing from Europe, but with strong ties to the Indian culture, you can find them on Facebook and on Instagram, including their tour dates (and I would simply love to see them live one day), and of course purchase a copy of their breathtaking debut from the Heavy Psych Sounds Records’ BandCamp or webstore, where you can find some beautiful versions of the album for your private collection, or simply click HERE for all things Litania. This is one of those bands that are not just making good heavy music, but infusing it with other sounds form out of the rock and metal specter, and I’m sure once you get a first taste of their unique music, you’ll get addicted to it and your soul will be transported to their ethereal realm for all eternity.

Best moments of the album: Manasi Devi, Veil of Illusion and Shankara.

Worst moments of the album: Fading Light.

Released in 2025 Heavy Psych Sounds Records

Track listing
1. Manasi Devi 5:46
2. Ghunghru 3:01
3. Veil of Illusion 6:17
4. Vighnaharta 4:06
5. Jamuniya 4:09
6. Bound 4:45
7. Shankara 4:48
8. Fading Light 4:56

Band members
Elisa De Munari – vocals, harmonium, sitar, dilruba
Marco Degli Esposti – guitar, drones
Enrico Baraldi – bass
Vladimir Marikoski – drums, percussions

Album Review – Orbit Culture / Death Above Life (2025)

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Sweden’s own Melodic Death and Groove Metal titans return from the frozen north with their incendiary fifth full-length album.

Beware of the antlers, as Eksjö, Sweden’s own Melodic Death/Groove Metal titans Orbit Culture return from the frozen north with their fifth full-length album aptly titled Death Above Life, following up on their critically acclaimed 2023 opus Descent. Produced, mixed and mastered by Buster Odeholm at Odeholm Audio, and adorned by a Stygian artwork by Miroslav Pecho, the new offering by vocalist and guitarist Niklas Karlsson, guitarist Richard Hansson, bassist Fredrik Lennartsson, and drummer Christopher Wallerstedt offers more of their trademark fusion of Thrash, Death, Groove and Industrial Metal with arresting hooks and a layered atmosphere that invites comparison to Gojira, Metallica and Static-X, while carving out something that is uniquely their own.

The band wastes no time and kick off the album on a violent mode with Inferna, where Niklas and Richard steal the show with their utterly metallic riffage in its almost seven minutes of first-class Swedish melodeath. Christopher then sounds like an out-of-control stone crusher in Bloodhound, adding endless aggressiveness to their sound while also matching perfectly with Niklas demented roars; whereas Inside the Waves offers a more modernized version of American Metalcore, an excellent option for setting fire to their live performances. In The Tales of War we face poetic lyrics declaimed by Niklas (“Chasing a dark storm, no reason to be here / Escaping the temple of fear / I forfeit, the summoning time, the chasing of healing shrines / Through darkness I was led through the lanes”) amidst a pure headbanging extravaganza, and again venturing through contemporary Groove Metal we’re treated to Hydra, while of course staying true to their roots. Furthermore, the bass by Fredrik will hammer your skull mercilessly.

It’s pedal to the metal in the high-octane melodeath feast entitled Nerve, led by the striking vocals by Niklas and the band’s spot-on backing vocals, all spiced up by the killer guitar solos by Richard. Death Above Life brings forward another round of their pensive yet acid words (“Alternation / Stuck in a war / No path to follow / Through chaos made up / My mind is done / In this cave of black dust, kill / It aims for the heart”), a neck-breaking tune that flirts with modern Death Metal at times; and get ready to be caught in a mosh pit storm to the sound of The Storm, where their riffs sound brutally awesome supported by the pounding drums by Christopher. More of their ass-kicking guitar lines will penetrate your mind in Neural Collapse, all boosted by Niklas’ vicious guttural, whereas lastly we have The Path I Walk, and I have no idea what their goal was with this tune. They sound like the more modern version of Metallica, which is never a good choice to be fair.

“The album represents change, a new beginning,” says guitarist, vocalist and songwriter Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth.” Hence, if just like the guys from Orbit Culture you also want to experience such a metallic rebirth you can follow the band on Facebook and on Instagram, staying up to date with their news and tour dates, stream their already dense discography on Spotify, and of course grab your copy of the excellent Death Above Life from their own BandCamp, as well as from the album’s special website, or by clicking HERE or HERE. There’s a thin line between life and death, but in the end death always prevail, in special when the soundtrack to it is as exciting and heavy as the new album by one of the torchbearers of the new Swedish melodeath scene.

Best moments of the album: Bloodhound, The Tales of War and The Storm.

Worst moments of the album: The Path I Walk.

Released in 2025 Century Media Records

Track listing
1. Inferna 6:45
2. Bloodhound 5:04
3. Inside the Waves 4:39
4. The Tales of War 5:10
5. Hydra 4:49
6. Nerve 5:54
7. Death Above Life 5:31
8. The Storm 4:16
9. Neural Collapse 6:21
10. The Path I Walk 4:55

Band members
Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums

Album Review – Sanguisugabogg / Hideous Aftermath (2025)

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The ‘Bogg is back in action with an ass-kicking record as gore-obsessed and violence-inclined as their prior works, but with a career-defining command over their ugly art.

Known for being THAT band with the unpronounceable name and unreadable logos, Columbus, Ohio-based Brutal Death Metal/Deathcore entity Sanguisugabogg returns to action with Hideous Aftermath, a record as gore-obsessed and violence-inclined as their prior works Tortured Whole (2021) and Homicidal Ecstasy (2023), but with a career-defining command over their ugly art. Recorded by Zach Weeks, produced by Kurt Ballou at Godcity Recording Studio, and mastered by Mike Kalajian at Rogue Planet Mastering, the newborn beast by frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson is the work of a band who has already cut a bloody swath into the underground and beyond, leaving any “Caveman Death Metal” tags in the dust while also flexing every muscle they have.

It’s pedal to the metal right from the beginning in Rotted Entanglement, led by the vicious drumming by Cody, almost sounding like old school, primeval Death Metal. In Felony Abuse of a Corpse we face guest vocals by the one and only Damonteal Harris (of Brutal Death Metal beast PeelingFlesh), and of course such an awesome partnership with Devin would result in pure sonic madness, with the riffs by Drew exhaling hatred; followed by Ritual Autophagia, featuring guest vocals by Todd Jones (of Nails), another slamming extravaganza by the quartet with the bass and drums by Ced and Cody, respectively, transpiring heaviness. They show no mercy for our souls in Heinous Testimony, offering an avalanche of unyielding Death Metal, with Devin’s Neanderthal vocals bringing pure hatred to their music; whereas the roars by guest Josh Welshman (of Defeated Sanity) add even more insanity to Abhorrent Contraception, with its lyrics reeking of evil (“Don’t run away, let’s play house, just stay / I’ll send them to their room, just ignore them for one day / And while they’re there, it’s just you and me right here / I’ll do what it takes for us forever”).

The second half of the album kicks off in an ominous manner, with a cryptic tune titled Repulsive Demise, led by the rumbling bass by Ced and setting the stage for the band to  kill us all in Erotic Beheading, with Drew setting fire to the atmosphere with his scathing riffage. In other words, its putrid, vile sound will please all fans of the most demented form of Brutal Death Metal, and needless to say, it will work brilliantly live. The quartet keeps hammering their sonic weapons in great fashion in Sanctified Defilement, with the deep, gargantuan vociferations by Devin sending shivers down our spines; and in Semi Automatic Facial Reconstruction we’re treated to the more-than-special guest vocals by Travis Ryan (of the unparalleled metal commando Cattle Decapitation), obviously turning it into one of the top moments of the album, with the instrumental chaos blasted by Drew, Ced and Cody providing such a phenomenal vocal duet with exactly what they need to crack the skies with their visceral roars. Lastly, featuring guest vocals by Dylan Walker (of Full of Hell), Paid in Flesh offers almost eight minutes of the most demonic form of the band’s blend of Death Metal, showcasing lots of break, variations, and of course, endless violence flowing from their riffs, beats, and the gruesome gnarls by Devin.

With Hideous Aftermath, Sanguisugabogg have proven themselves more than just an eccentric death crew on an acid-addled hateroll. They’re both champions of the underground and a musical force unto themselves. “It’s definitely our most death metal record, our most personal record, our most focused and brutal record to date,” commented Devin Swank, who’s waiting for you alongside his bandmates on Facebook and on Instagram with news, tour dates and so on. Don’t forget to also stream their undisputed brutality on Spotify, and of course to grab a copy of their excellent new album from their own BandCamp or webstore, from Century Media Records, or by clicking HERE or HERE. Hideous Aftermath showcases a band that’s not just out for blood, but out for YOUR blood, and once you find yourself in the hands of the ‘Bogg, there’s no escape.

Best moments of the album: Felony Abuse of a Corpse, Semi Automatic Facial Reconstruction and Paid in Flesh.

Worst moments of the album: Repulsive Demise.

Released in 2025 Century Media Records

Track listing
1. Rotted Entanglement 5:37
2. Felony Abuse of a Corpse 5:23
3. Ritual Autophagia 4:48
4. Heinous Testimony 3:20
5. Abhorrent Contraception 5:30
6. Repulsive Demise 4:02
7. Erotic Beheading 2:52
8. Sanctified Defilement 3:32
9. Semi Automatic Facial Reconstruction 4:33
10. Paid in Flesh 7:50

Band members
Devin Swank – vocals
Drew Arnold – guitars
Ced Davis – bass
Cody Davidson – drums

Guest musicians
Josh Welshman – vocals on “Abhorrent Contraception”
Travis Ryan – vocals on “Semi Automatic Facial Reconstruction”
Dylan Walker – vocals on “Paid in Flesh”
Todd Jones – vocals on “Ritual Autophagia”
Damonteal Harris – vocals on “Felony Abuse of a Corpse”

Album Review – Undersave / Merged In Abstract Perdition (2025)

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These unheralded Death Metal heroes from Portugal return with their third opus, displaying a marked progression from their previous efforts without abandoning their core sound.

Unheralded Death Metal heroes from Portugal, Undersave have been carving their own path, and every half a decade or so we get an album that is a huge step ahead from the previous one. Mixed and mastered by Diogo Santana at Noise Portrait Recordings, and displaying a sinister artwork by Belial NecroArts (Hierarchies, Perishing, and many more), the band’s third full-length opus Merged In Abstract Perdition displays a marked progression from their 2018 sophomore Sadistic Iterations… Tales of Mental Rearrangement without completely abandoning their core sound, offering an infernal yet intricate slab of Dissonant Death Metal carefully crafted by Nuno Braz on vocals and guitars, André Carvalho also on the guitars, Renato Laia on bass, and Pedro Pereira on drums, being therefore tailored for fans of Immolation, Ulcerate, Replicant, Maere, Gorguts, Dysgnostic, and Saevus Finis, among others.

The band begins distilling their fusion of Progressive and Death Metal with experimental and uncanny sounds in Unshakable And Unlimited Levels Of Obsession, with the bass by Renato sounding utterly metallic and vibrant; and their feast of idiosyncratic sounds goes on in full force in Unconscious Assimilation…Path To Tangible Reality, with the vile guttural by Nuno being boosted by his own riffage alongside André’s also menacing guitar lines. Effervescent Futile Thoughts Of A Phobic Being is another excellent song with a creative and wicked title, with Pedro hammering his drums nonstop in a Progressive and Avantgarde Death Metal extravaganza, and Nuno and André simply shred their axes in Forced Retraumatization…Unlocking Spiritual Illumination, offering our avid ears an overdose of madness and intricacy. The band shows no mercy for our souls in Fictitious And Impermanent Self-Refinement, with Pedro taking the lead with his fulminating beats and fills, and there’s still time for more of their disruptive Death Metal in the form of Fathomless Contempt Nourished By Unrealistic Predictions, with Nuno roaring nonstop accompanied by the eerie sounds crafted by his bandmates. Last but not least, we’re treated to six minutes of pure insanity titled Narcissistic Supreme Alienation, where their experimental sounds and tones walk hand in hand with Pedro’s crushing drums.

In summary, Undersave may have just come up with a must-listen album for any fan of extreme music, rivalling if not surpassing not only their own albums but also those by the other luminaries in the style. Hence, you can find those talented Portuguese metallers on Facebook and on Instagram, including their pulverizing live shows, stream their unique creations on Spotify, and of course put your damned hands on Merged in Abstract Perdition from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, or simply click HERE for all things Undersave. Merged in Abstract Perdition is indeed a masterful album that is at once dark, dissonant, and atmospheric, and once you dive deep into its vicious sounds, get ready for a one-way descent into madness.

Best moments of the album: Unconscious Assimilation…Path To Tangible Reality, Forced Retraumatization…Unlocking Spiritual Illumination and Narcissistic Supreme Alienation.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Unshakable And Unlimited Levels Of Obsession 5:39
2. Unconscious Assimilation…Path To Tangible Reality 5:20
3. Effervescent Futile Thoughts Of A Phobic Being 5:06
4. Forced Retraumatization…Unlocking Spiritual Illumination 5:43
5. Fictitious And Impermanent Self-Refinement 4:29
6. Fathomless Contempt Nourished By Unrealistic Predictions 5:34
7. Narcissistic Supreme Alienation 6:12

Band members
Nuno Braz – vocals, guitars
André Carvalho – guitars
Renato Laia – bass
Pedro Pereira – drums

Album Review – Unsouling / Outward Streams of Devotional Woe (2025)

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This Minneapolis, Minnesota-based one-man project returns with his excellent sophomore opus based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach.

After the dissolution of Feral Light, Minneapolis, Minnesota-based frontman and songwriter A.S. (aka Andy Schoengrund) wasted no time in channeling his artistic flair into a new project, the Experimental Black/Death Metal creature known as Unsouling. The project’s 2024 debut, Vampiric Spiritual Drain, laid the foundation for a new stylistic approach that is now fully realized on Outward Streams of Devotional Woe, its sophomore release. Conceived and recorded by A.S. at The Crypt, mixed by Sanford Parker at Hypercube Studios, mastered by Adam Tucker at Signaturetone Recording, and displaying an eerie artwork by Luciana Nedelea (with layout by Francesco Gemelli, known as Unexpected Specter), Outward Streams Of Devotional Woe is based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach, and how this can bring great comfort.

The album starts with the cryptic, obscure Immaterial Entrance, where A.S. delivers minimalist riffs, bass lines and beats before morphing into an Atmospheric Black Metal beast, with its second half turning into sheer chaos and violence. Then investing in a more Doom Metal-inspired sonority it’s time for Your Momentary Passing, showcasing his harsh, anguished roars and sluggish drums, as well as a wall of experimentations. And presenting nuances of the Melodic Death Metal played by bands like Insomnium we have To Come Unbound, sounding utterly chilling and obscure until the end; whereas Grief Reconfigured is a lecture in Black Metal where A.S. puts the pedal to the metal and delivers his heaviest and most demonic side while also bringing forward pensive and visceral Blackened Doom moments. His metallic bass sets the tone in Towering Black Wave, another hybrid of Doom Metal with atmospheric and melodic passages, and it’s then time for the two-minute introspective interlude Passages, where his stylish sounds permeate the air until all comes to an end with Dissolved in Spiritus, crushing our minds and souls to A.S.’s vile gnarls and Post-Black Metal riffs, with its countless layers and tempo changes giving the whole song a hypnotizing vibe.

“The album differs from its predecessor in that the meandering exploration of Vampiric Spiritual Drain has been replaced with a more sure-footed and focused journey,” explained A.S. “The anchor of black metal with its bleed into gothic, dark wave, and death metal influences is still very much present, but it is more reigned in and pointed.” In terms of the themes covered, Unsouling remain faithful to the poetics of its debut, but, if possible, accentuate its existentialist vein, being therefore highly recommended for admirers of Sacramentum, Grave, Morgion, and Feral Light, just to name a few. You can also connect with A.S. and his Unsouling via Instagram, stream his unique music on Spotify, and above all that, grab a copy of Outward Streams of Devotional Woe from the project’s own BandCamp, from the I, Voidhanger Records’ BandCamp, or from Metal Odissey (in the US or in the EU/UK), or simply click HERE for all thing Unsouling. In the end, loss and grief are always extremely difficult to process inside our minds and hearts, and the music blasted by Unsouling in Outward Streams of Devotional Woe perfectly depicts that excruciating challenge, always supported by the dark beauty of extreme music.

Best moments of the album: Immaterial Entrance and Dissolved in Spiritus.

Worst moments of the album: None.

Released in 2025 I, Voidhanger Records

Track listing
1. Immaterial Entrance 6:02
2. Your Momentary Passing 4:58
3. To Come Unbound 5:22
4. Grief Reconfigured 5:18
5. Towering Black Wave 6:23
6. Passages 2:04
7. Dissolved in Spiritus 5:35

Band members
A.S. – vocals, all instruments