Category Archives: 2026 New Releases

Album Review – Defacing God / Darkness Is My Crown (2026)

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These Symphonic Black Metal visionaries are back with their stunning sophomore opus, this time with a strong focus on inner conflict, loss, transformation and resilience.

After the more-than-positive feedback received with the release of their 2022 breathtaking debut The Resurrection of Lilith, Aalborg, Denmark-based Symphonic Black/Gothic Metal visionaries Defacing God return from the underworld with their most personal and intense album to date, titled Darkness Is My Crown. Mixed and mastered by Tue Madsen at Antfarm Studios, and showcasing a visceral artwork by Leoncio Hrmr (capturing the darker, more intense, and complex atmosphere developed for the album), the newborn spawn by frontwoman Sandie “The Lilith” Gjørtz and her horde formed of guitarists Jakob Batten and Christian Snapholt Nielsen, bassist Rasmus “Kalke” Munch Nielsen, and drummer Michael Olsson sees the band once again fuse Blackened Death Metal, symphonic darkness and occult atmosphere, this time with a strong focus on inner conflict, loss, transformation and resilience, an unfiltered reflection of confronting darkness head-on and reshaping it into strength, identity and purpose.

An ominous intro drags us all to the Stygian lair ruled by The Lilith and her henchmen in Nocturnal Vestige, sounding and feeling very melodic, harsh and piercing, with Jakob and Christian firing their scathing riffs nonstop. Malediction Manor already kicks off in full force to the hammering drums by Michael, evolving into a bestial display of Symphonic Black Metal for the delight of all fans of the darkest side of music; whereas in It Comes at Night the band slows things down and brings to our avid ears an overdose of dark sounds led by the devilish guitars by Jakob and Christian. Then offering another cryptic intro we face I See Shadows, evolving into a headbanging, grim aria blending Black and Doom Metal in a compelling way, followed by Nefarious Enclave, one of the most venomous songs of their career, an onrush of Black Metal sounds with a rebellious thrashing twist where The Lilith roars and barks like a she-demon unleashed into humanity and avid for blood.

The second part of the album begins with the absolutely obscure Hymns of the Memoir, sounding like a devilish ceremony led by the vile vociferations by The Lilith, therefore getting us ready for the Symphonic Black Metal beast entitled There Is No Light, where its background keys add an extra touch of epicness to their sound while Rasmus and Michael bring the groove armed with their respective bass and drums. Your Presence Lingers Here, one of the first singles released, follows a similar pattern as the previous song but with more enraged riffs and the utterly venomous roars by The Lilith; and the album keeps its imposing, bold and dense atmosphere flowing in Transition, with their guitars and drums walking hand in hand with its once again killer background keys, offering different layers and nuances until its excellent finale. Lastly, the icing on the cake comes in the form of the blasphemous, visceral The Last Revelation, where The Lilith leads her vicious horde in another metallic journey through the lands of modern-day Symphonic Black Metal.

Defacing God are on another level after the release of Darkness Is My Crown. They not only sound heavy, dark and relentless, but the message behind their music has tons of depth, multiple layers, and a sense of hope during such difficult times to basically everyone alive. Sandie and the boys deserve our total admiration and recognition for their efforts to make our dark world a better place through their Black Metal magic, and we can all see what they’re up to on Facebook and on Instagram, including their undisputed tour dates, and don’t forget to also stream their music on Spotify, and to put your damned hands on their new album from their own BandCamp or by clicking HERE. From darkness they’ve arisen, and in darkness they’re now crowned the new torchbearers of Symphonic Black Metal.

Best moments of the album: Malediction Manor, Nefarious Enclave, Your Presence Lingers Here and The Last Revelation.

Worst moments of the album: None.

Released in 2026 Apostasy Records

Track listing
1. Nocturnal Vestige 4:29
2. Malediction Manor 3:11
3. It Comes at Night 3:54
4. I See Shadows 3:56
5. Nefarious Enclave 3:25
6. Hymns of the Memoir 3:51
7. There Is No Light 3:40
8. Your Presence Lingers Here 4:08
9. Transition 4:28
10. The Last Revelation 3:33

Band members
Sandie “The Lilith” Gjørtz – vocals
Jakob Batten – lead guitars
Christian Snapholt Nielsen – rhythm guitars
Rasmus “Kalke” Munch Nielsen – bass
Michael Olsson – drums

Album Review – Putred / Blestemul Din Adânc (2026)

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Delivering slow-decaying, putrid Death Metal with a raw and rotting intensity, this Romanian entity will spread “the Curse of the Deep” with their ruthless new opus.

Delivering slow-decaying, putrid Death Metal with a raw and rotting intensity since their inception back in 2020, Transylvania, Romania’s own zombie horde Putred returns from the grave with their third full-length opus, titled Blestemul Din Adânc, or “the curse of the deep” from Romanian. Recorded and mixed by the band’s own Uriel Aguillon at Natorum Demonto Studio, mastered by Gabbi at Spatial Mastering Studios, and displaying a cadaverous artwork by Colombian artist Julian Mortuus, the follow-up to their 2025 devastating sophomore Megalit al putrefac​ț​iei sees the band currently formed of Filip Garlonta on vocals, Uriel Aguillon and Denis Bucur on the guitars, Corina Elena on bass, and Andrei “Ficus” Orha on drums take the brutality of their rotten sound to a whole new level, placing them as a must-see name of the current European Death Metal scene.

The cryptic intro Pandemonium is a very relaxing and soothing one despite its name, like the calm before the storm that’s about to come in Sfâșiat… Stigmatizat (“torn… stigmatized”), a doom-soaked Death Metal aria where Filip’s deep, inhumane guttural guides the listener to the pits of the underworld, followed by the haunting title-track Blestemul din Adânc, offering an avalanche of cold, visceral Death Metal in the vein of the mighty Frozen Soul. Corina and Ficus hammer their respective bass and drums in Întâlnirea Mortală (“the deadly encounter”), keeping the atmosphere as dense and evil as possible, whereas Cripta Vrăjilor (“the crypt of spells”) sounds and feels groovy, evil and heavy-as-hell, with the venomous vociferations by Filip matching perfectly with the riffs and solos by Uriel and Denis.

Then a very poetic name and a sinister start warns us all of the Death and Doom Metal beast that’s rising from the underworld in Devorat de Întuneric (“devoured by darkness”), offering a massive wall of aggressive sounds by the band, whereas a demented scream by Filip ignite the also doomed and vile Groapa Oaselor (“the pit of bones”), with Ficus crushing our souls with his demonic beats. Uriel and Denis’ riffage then rev up the band’s deadly engine in Catacombe Sângerii (“the catacombs of blood”), a lecture in primeval Death Metal for diehard fans of the style. Ultimul Clopot (“the last bell”), the last original song of the album, reeks of putrid Death Metal, led by the rumbling kitchen by Corina and Ficus, also showcasing those demented solos we love in this type of music; and lastly, we face their cover version for Benediction’s Subconscious Terror, from their 1990 classic Subconscious Terror (check the original version HERE), as visceral and inhumane as the original, and certainly not recommended for the lighthearted.

Always forging sacred walls of sound built on decaying guitars and guttural vocals steeped in decomposition and ruin, Putred are on absolute fire (and sulfur) in their breathtaking new album Blestemul Din Adânc, a suffocating overdose of doom-infused Death Metal tailored for admirers of the darkest and heaviest form of extreme music. Even if you don’t speak any Romanian at all, you’ll have an excellent time listening to Blestemul Din Adânc, and you can show the band your total support by following them on Facebook and on Instagram, by streaming their demonic creations on Spotify or any other platform, and of course, by purchasing their infernal new opus from their own BandCamp, as well as from the Awakening Records’ BandCamp or Big Cartel. In the end, “the Curse of the Deep” is upon us all, and there’s nowhere to run nor hide from the bludgeoning blend of Death Metal by these Romanian marauders.

Best moments of the album: Blestemul din Adânc, Cripta Vrăjilor and Catacombe Sângerii.

Worst moments of the album: None.

Released in 2026 Futhark Records/Awakening Records/Iron Forest Records

Track listing
1. Pandemonium (intro) 1:45
2. Sfâșiat… Stigmatizat 5:16
3. Blestemul din Adânc 4:55
4. Întâlnirea Mortală 4:42
5. Cripta Vrăjilor 3:11
6. Devorat de Întuneric 3:50
7. Groapa Oaselor 4:18
8. Catacombe Sângerii 3:25
9. Ultimul Clopot 4:37
10. Subconscious Terror (Benediction cover) 3:40

Band members
Filip Garlonta – vocals
Uriel Aguillon – guitars, vocals on “Subconscious Terror”
Denis Bucur – guitars, everything in “Pandemonium”
Corina Elena – bass
Andrei “Ficus” Orha – drums

Album Review – Türböwitch / Under Haunted Skies (2026)

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Budapest, Hungary’s own  Speed and Thrash Metal machine channels the spirit of 80’s extreme music in their third full-length album, a full-scale, post-apocalyptic metal experience.

Faithful to their no-compromise ethos, Budapest, Hungary’s own  Speed/Thrash Metal machine Türböwitch channels the spirit of 80’s Extreme Metal through a modern sense of immediacy, delivering songs that are fast, filthy and built for maximum impact. Recorded at Spezial Hell Studio, and produced, mixed and mastered in by Gravel Shores at Spiritside Studio, the third full-length offering by vocalist Zsolt “Zslöd” Lédeczi, guitarists Zsolt “Kommandante Klit” Harsányi and Péter “Mr. Fireball” Tóth, bassist Valdemár “Välde” Volcsánszky, and drummer Botond “Khäosz Bringer” Kasper, entitled Under Haunted Skies, is a ten-track journey through a world collapsing into darkness and clawing its way toward resilience, a full-scale, post-apocalyptic metal experience – dark, fast, atmospheric, and unforgiving, marking a decisive step forward for the band while further refining the uncompromising attitude and relentless live energy that have earned them a strong reputation within the European underground.

Just like in an 80’s horror movie, the intro Evoker of the Twilight drags us to absolute darkness before we’re crushed to pieces in Markoláb, with the thunderous beats and fills by Khäosz Bringer inspiring us all to slam into the pit while Zslöd growls like a demented beast from the abyss, all boosted by Välde’s metallic bass jabs. The title-track Under Haunted Skies is just as deranged and rebellious, with the striking riffage by Kommandante Klit and Mr. Fireball cutting our skin deep mercilessly; whereas venturing through the badass lands rules by Motörhead, the band offers the melodic yet visceral Cult Mastery, the perfect depiction of Black N’ Roll. And it’s pedal to the metal in the high-octane extravaganza Ashbringer, with Zslöd’s vile roars being nicely complemented by the band’s thrashing backing vocals.

They keep firing their unrelenting blend of Blackened Thrash Metal in Highways of Death, with the electrifying, venomous sound of their guitars penetrating deep inside our rotten souls. Then Välde’s ruthless bass kicks off the heavy, infuriated and maniacal Ultimate Failure of Will, another excellent choice to dive into the pit like a headbanging bastard, while delivering the most melodic riffs of the whole album, it’s time for When the World Crumbled, keeping the atmosphere as chaotic and fun as possible. In Moshpit at the End of the Day the name says it all. Get ready to be caught in an absolutely wild mosh pit of Black and Thrash Metal, with Khäosz Bringer literally bringing chaos to the band’s already incendiary music; and lastly, we have Road to Resilience, the most Rock N’ Roll song of all, and also the least exciting one, although when they speed things up they sound great as usual.

Rooted in Blackened Speed and Thrash Metal, Under Haunted Skies draws from the raw savagery and punk-fueled aggression of acts like Midnight, the razor-sharp thrash precision of The Crown, and the dark melodic drive of Hellripper, while maintaining a clearly identifiable personality. In case you want to know more about Türböwitch, their music, tour dates and plans for the future, you can find those headbanging bastards on Facebook and on Instagram, stream their sick music on Spotify, and above all, purchase the electrifying Under Haunted Skies from BandCamp, from Time To Kill Records, or by clicking HERE. Hopelessly addicted to fast riffs, unholy noise, and loud parties, Türböwitch continue to thrive in the filth and fury of the underground, and you better get ready because once they catch you, there’s absolutely no escape from their sonic anarchy.

Best moments of the album: Markoláb, Ashbringer and Moshpit at the End of the Day.

Worst moments of the album: Road to Resilience.

Released in 2026 Time To Kill Records

Track listing
1. Evoker of the Twilight 1:13
2. Markoláb 3:31
3. Under Haunted Skies 4:05
4. Cult Mastery 3:27
5. Ashbringer 3:40
6. Highways of Death 4:00
7. Ultimate Failure of Will 2:12
8. When the World Crumbled 4:40
9. Moshpit at the End of the Day 3:12
10. Road to Resilience 3:52

Band members
Zsolt “Zslöd” Lédeczi – lead vocals
Zsolt “Kommandante Klit” Harsányi – lead guitars, backing vocals
Péter “Mr. Fireball” Tóth – rhythm guitars, backing vocals
Valdemár “Välde” Volcsánszky – bass
Botond “Khäosz Bringer” Kasper – drums, backing vocals

Album Review – Cruel Force / Haneda (2026)

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Germany’s own Blackened Thrash Metal horde returns with their striking new opus, taking us on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.

Truest of the true, Germany’s own Blackened Thrash/Speed Metal horde Cruel Force storms back with swords gleaming high on their fourth full-length opus, entitled Haneda, which translates to “feather field” or “wing rice paddy,” derived from the Japanese kanji for hane (羽, wing or feather) and ta/da (田, rice field), the worthy follow-up to their 2023 critically acclaimed album Dawn of the Axe. Recorded by Marco Brinkmann at Hellforge Studio, Bauer Studios and The Parchment Studios, and showcasing an old school artwork by Maegan LeMay, the newborn spawn by Carnivore on vocals, Slaughter on the guitars, Spider on bass, and GG Alex on drums further proves that the band is more so an old-style Speed Metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there’s a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder, taking the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.

The epic, battle-driven intro The Cross sets the stage for Cruel Force to kick our asses in Whips-A-Swinging, with the frantic, insane riffing by Slaughter adding an extra dosage of adrenaline to the band’s already demented Thrash Metal, accompanied by the crushing beats by GG Alex. There’s no time to breathe as the quartet continue their path of chaos and rebelliousness with Savage Gods, with Carnivore’s deranged vocals living up to the legacy of old school Speed Metal; whereas in Sword of Iron the name of the song says it all, transpiring classic Heavy Metal while Spider’s demonic bass walks hand in hand with GG Alex’s nonstop drums. Then we have Crystal Skull, where its 80’s action movie-like intro gradually morphs into a headbanging sound led by Slaughter’s guitar, albeit it would have been a lot better with vocals.

Warlords presents hints of the metal music made famous by Manowar, but without forgetting their core savagery and speed, alternating between sheer heaviness and the metallic madness of the riffage by Slaughter; and it’s time to put your elbows up and slam into the pit to the sound of Black Talon, with its Punk Rock attitude and its Thrash Metal vibe elevating Carnivore’s vocals to new heights. Titan’s Awakening is another song where the band wastes no time and begins distilling their frantic insanity right from the very first second, with Slaughter’s demented riffs being nicely boosted by the thunderous kitchen by Spider and GG Alex. And how about a nine-minute Thrash and Speed Metal song? That’s exactly what you’ll get in the breathtaking title-track Haneda, with their riffs and beats matching flawlessly with Carnivore’s vicious vocals, inspiring the band (and their fans) to march into the battlefield until the song’s epic and melodic grand finale.

“To us, it often feels like what Rainbow / Dio would have sounded if they’d played speed metal,” commented the band, and with its neoclassical moments plus tasteful references to Eastern European metal, Haneda locates that unique melting-pot of the thrashing rage of classic Kreator, Deathrow, Razor, Piledriver, and Powerlord meeting the grandeur of equally-classic Rainbow, Iron Maiden, and Virgin Steele. You can enjoy all that power, speed and rage from Haneda by grabbing a copy of the album from the Shadow Kingdom Records’ BandCamp or webstore, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their striking creations on Spotify. Having said all that, do you have what it takes to venture into Haneda and disturb the Savage Gods on the way to the Crystal Skull?

Best moments of the album: Whips-A-Swinging, Sword of Iron and Haneda.

Worst moments of the album: Crystal Skull.

Released in 2026 Shadow Kingdom Records

Track listing
1. The Cross 1:19
2. Whips-A-Swinging 4:01
3. Savage Gods 4:28
4. Sword of Iron 4:03
5. Crystal Skull 4:52
6. Warlords 6:23
7. Black Talon 4:04
8. Titan’s Awakening 4:15
9. Haneda 9:11

Band members
Carnivore – vocals
Slaughter – guitars
Spider – bass
GG Alex – drums

Album Review – Hellripper / Coronach (2026)

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Let the carnage commence to the incendiary new offering by the chief standard bearer for Blackened Thrash and Speed Metal worldwide.

From the moment that Aberdeen, Scotland-based Hellripper burst into the metal world’s simmering consciousness back in 2014, the Blackened Speed and Thrash Metal throne was destined to be conquered. Recorded and mixed by the band’s own mastermind, vocalist and multi-instrumentalist James McBain at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and showcasing a stunning artwork by the always phenomenal Adam Burke of Nightjar Illustration, the breathtaking Coronach, the fourth studio album by James and his Hellripper, named after the improvised communal singing that is a tradition at funerals and wakes in Scotland and Ireland, is the band’s visceral but vital sound rendered in eye-frying, widescreen thrash-o-vision, a dazzling display of nefarious militancy with huge, skull-slicing, unforgettable tunes (digging deep into the hazy past while also drawing ghostly parallels between ancient rites and the challenges and conflicts of the present day), and a worthy follow-up to the project’s 2023 masterpiece Warlocks Grim & Withered Hags.

The opening tune Hunderprest, featuring the James’ partners in crime Joseph Quinlan on lead and additional guitars and Marianne on additional vocals, continues the feast of blackened sounds from their 2023 album, with James delivering his trademark harsh roars nonstop. Marianne is also featured in Kinchyle (Goatkraft and Granite), with its poetic lyrics being nicely vociferated by James (“Salt water fills the wounds of time / Grey Palisades fade into endless fucking, pure soul-sucking night / Born of thunder, wind and rain / Vultures on jagged wings usurp the kings, and call upon my name”) while the music is as rebellious and vibrant as it can be; and the serene sounds of a piano kick off The Art of Resurrection before morphing into a frantic feast of Thrash and Speed Metal, with James’ riffs and pounding drums walking hand in hand with his visceral growls. Then we face Baobhan Sith (Waltz of the Damned), featuring guest Jess Townsend on the violin, and the music is just as demolishing and captivating as the rest of the album, again showcasing a phenomenal guitar work by James, flawlessly clashing with Jess’ crying violin.

Joseph and Marianne are back in Blakk Satanik Fvkkstorm, portraying the perfect name for a Hellripper song, and of course it’s highly recommended for some action inside a wild circle pit, offering the high-octane vibe of Speed Metal and James’ devilish Black Metal gnarls. James keeps delivering sheer violence and speed mixed with the culture and folklore of his beautiful homeland in Sculptor’s Cave, firing some of his fastest riffs and blast beats; followed by Mortercheyn, featuring Max Southall on additional percussion, one of those songs that will put you to dance, or in other words, a chaotic hurricane of Blackened Thrash Metal led by James’ trademark caustic vocals and riffage. Last but certainly not least, we have the title-track Coronach, with guest Antonio Rodriguez bringing even more epicness to the music with his bagpipes. With the title and some of the lyrics coming from Coronach, a poem by Sir Walter Scott (“He is gone on the mountain, / He is lost to the forest, / Like a summer-dried fountain, / When our need was the sorest. / The font reappearing / From the raindrops shall borrow, / But to us comes no cheering, / To Duncan no morrow!”), while the music is simply majestic, the album ends on a beyond climatic and epic mode.

“I think this album sounds ‘colder’ than the previous one,” notes James. “With each album I create, I feel the overall sound is more diverse than before, but also more cohesive in tone and atmosphere. You’ll find influence from anything and everything from Venom and Mercyful Fate, to Watain, Opeth and Manic Street Preachers, all wrapped up in a nice speed metal package! I wanted each track to include something that I had never done previously, whether that be the inclusion of a different instrument, or the way a song starts, for example. I think each track will offer some sort of surprise.” Hellripper is already considered a chief standard bearer for Blackened Thrash and Speed Metal worldwide, and Coronach will undoubtedly inspire James to keep howling into the future with more of his sensational music. You can start following Scotland’s best metal band ever on Facebook and on Instagram, subscribe to their YouTube channel, stream all of their scathing creations on Spotify, and of course purchase a copy of the incendiary Coronach from BandCamp or by clicking HERE or HERE. In other words, simply hit play, feel the music found in Coronach embrace your rebellious soul, and let the carnage commence.

Best moments of the album: Kinchyle (Goatkraft and Granite), Baobhan Sith (Waltz of the Damned), Blakk Satanik Fvkkstorm and Mortercheyn.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Hunderprest 5:49
2. Kinchyle (Goatkraft and Granite) 4:33
3. The Art of Resurrection 5:44
4. Baobhan Sith (Waltz of the Damned) 6:24
5. Blakk Satanik Fvkkstorm 3:53
6. Sculptor’s Cave 4:35
7. Mortercheyn 4:18
8. Coronach 8:48

Band members
James McBain – vocals, all instruments

Guest musicians
Joseph Quinlan – lead & additional guitars on “Hunderprest” and “Blakk Satanik Fvkkstorm”
Marianne – additional vocals on “Hunderprest”, “Kinchyle (Goatkraft and Granite)” and “Blakk Satanik Fvkkstorm”
Jess Townsend – violin on “Baobhan Sith (Waltz of the Damned)”
Max Southall – additional percussion on “Mortercheyn”
Antonio Rodriguez – bagpipes on “Coronach”

Album Review – Decipher / ΘΕΛΗΜΑ (Thelema) (2026)

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Almost three years after the release of their dark and sinister debut, this Greek Blackened Death Metal horde returns from the pits of the underworld with their sophomore black mass.

Almost three years after the release of their dark and sinister debut Arcane Paths to Resurrection, Athens, Greece-based Blackened Death Metal horde Decipher returns from the pits of the underworld with their sophomore black mass, entitled ΘΕΛΗΜΑ, or Thelema, a Greek word meaning “will,” “desire,” or “purpose,” used in philosophy and religion (especially biblical contexts for God’s will). Featuring a Stygian artwork by Artem Grigoryev (Dödsrit, Nightbringer), the new opus by Kostas Gerochristos (Lucifer’s Child) on vocals and guitars, Kostas Xatzis also on the guitars, Kostas Ragiadakos (Dephosphorous) on bass, and Nodas Chatzopoulos on drums elaborate on the music forged on their debut album, adding better nuance and structure to the songs whilst retaining the sound and appeal. Allowed better expression, the songs are comparatively longer and have a narrative quality to them without straying too far from the core sound.

The quartet summons the powers of the dark spirits already in Return to Naught, where their Rotting Christ and Behemoth inspirations clash in a stunning way, led by the devilish growling by Kostas Gerochristos. Then Nodas takes control of the band’s Black Metal sound armed with his hammering beats in The Black March, supported by the stringed attack by his bandmates, and their caustic riffs ignite the no shenanigans Blackened Death Metal beast Seven Scars, the most aggressive of all songs, with Kostas Gerochristos roaring like a rabid creature. Nodas keeps the atmosphere as grim and violent as possible in Bound to the Wheel,  a classic Black Metal tune boosted by the band’s Greek spices, whereas their Hellenic vein gets even stronger in Hail Death, with their strident, piercing riffs once again sending shivers down our spines. Kostas Gerochristos and Kostas Xatzis continue to extract Black and Death Metal energy from their guitars in Towards Renaissance, supported by the rumbling bass by Kostas Ragiadakos, morphing into the cryptic instrumental outro Litany, putting a sinister ending to their black mass.

In summary, the music found in ΘΕΛΗΜΑ is the kind of Black Metal that gets its priorities straight, with the right focus on riffs, feeling, intensity, and passion, being therefore highly recommended for admirers of the dark arts crafted by Emperor, Yoth Iria, Bolzer, Lucifer’s Child, Varathron, Necromantia, Ravencult, and Dodsferd, among others. You can find those Greek black metallers on Facebook and on Instagram, staying up to date with their news and live concerts, stream their obscure sounds on Spotify, and purchase your copy of their flammable new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because in the end, God’s will doesn’t really matter in heavy music. It’s the majestic Black Metal played by bands like Decipher in their new album that truly does.

Best moments of the album: Return to Naught, Seven Scars and Hail Death.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Return to Naught 4:29
2. The Black March 7:08
3. Seven Scars 5:53
4. Bound to the Wheel 6:05
5. Hail Death 7:43
6. Towards Renaissance 6:47
7. Litany 4:51

Band members
Kostas Gerochristos – vocals, guitars
Kostas Xatzis – guitars, backing vocals
Kostas Ragiadakos – bass
Nodas Chatzopoulos – drums

Album Review – Engorgement / They Rot Beneath Our Floor (2026)

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More than thirteen years on from the release of their horrifying debut, UK’s own Brutal Death Metal machine is finally back with a new assault on morality, enlightenment and good taste.

More than thirteen years on from the release of their horrifying debut album Excruciating Intestinal Lacerations, UK’s own Brutal Death Metal machine Engorgement is finally back with a new assault on morality, enlightenment and good taste, beautifully titled They Rot Beneath Our Floor. Mixed and mastered by Brutal Death Metal master Floor Van Kuijk (of Korpse, Sijjeel, Carnifloor and many more) at GLDCHN Studios, and completed with with a suitably sickening artwork by Christian Castro, the new beast by Stu Hine on vocals, Ricky Hill on the guitar, Richard Lynn on bass, and Mitch Rider on drums is a must-listen for fans of bands the likes of Slob, Traumatomy, Gorevent, and Colpocleisis, their new testament to mankind’s inhumanity that is gloriously repugnant, raw, bloody and pustulent beyond belief.

The nightmarish intro Prelude To Your Dismemberment feels like it was taken from a gory slasher movie, dragging us to the Stygian realm of blood and violence ruled by Engorgement before they demolish our senses with Keep Festering. It’s quite impossible for any band to sound any heavier than this, with the pig-like screeches by Stu sounding inhumane to say the least. Then in Rot Beneath Our Floor the band continues their path of destruction, with the crushing beats by Mitch matching perfectly with the rumbling bass by Richard, followed by Sanctum Of Gore, another lecture in Brutal Death Metal, inviting us all to slam like putrid metalmaniacs inside the pit while Ricky hammers his axe mercilessly. And Watching Your Body Twitch is undoubtedly one of the most demented of all songs, with the old school Death Metal riffage by Ricky taking the song’s demented vibe to new (and vile) heights.

With a name like Complete Bowel Extraction we couldn’t expect any less than sheer gore and aggression by those UK slammers, and Mitch makes sure the earth trembles with his infernal beats and fills; whereas in Unmerciful Redemption the indomitable Stu doesn’t get tired of barking, gnarling and screeching like a wild beast, supported by the heavy artillery crafted by Richard and Mitch. There’s no time to breathe as their Brutal Death Metal extravaganza goes on in full force in Resurrection, showcasing another depraved vocal performance by Stu, and they conclude the album with a sound that’s as demonic and heavy as all previous songs in the form of Blunt Force Osteotomy, led by the cryptic riffage by Ricky while Mitch pounds his drums nonstop in the name of pure violence, flowing into the short and weird album’s Outro.

In a nutshell, UK’s heaviest and sickest exponents of shocking brutality invite you to a journey into the heart of darkness with They Rot Beneath Our Floor, a lesson in Brutal Death Metal that transpires violence, gore and hatred. Those four ruthless UK metallers are waiting for you on Facebook and on Instagram with news, more of their music, and their tour dates (if you can survive their bludgeoning live performances, of course), and don’t forget to also stream their slab of savagery on Spotify, and to put your putrid hands on their new album from Comatose Music’s BandCamp or webstore (or click HERE for all things Engorgement). It might have taken over a decade for Engorgement to assault us once again with their undisputed brutality, but based on the high quality and the extreme violence found in They Rot Beneath Our Floor, I’m sure those guys won’t take long to hammer our cranial skulls again with another killer album of Brutal Death Metal madness.

Best moments of the album: Keep Festering, Watching Your Body Twitch and Blunt Force Osteotomy.

Worst moments of the album: The outro could have been a bit longer, more detailed and dynamic.

Released in 2026 Comatose Music

Track listing
1. Prelude To Your Dismemberment 1:37
2. Keep Festering 3:32
3. Rot Beneath Our Floor 3:55
4. Sanctum Of Gore 3:11
5. Watching Your Body Twitch 5:05
6. Complete Bowel Extraction 4:14
7. Unmerciful Redemption 5:38
8. Resurrection 4:56
9. Blunt Force Osteotomy 4:13
10. Outro 0:24

Band members
Stu Hine – vocals
Ricky Hill – guitar
Richard Lynn – bass, backing vocals
Mitch Rider – drums

Album Review – Karmian / Horror Vacui (2026)

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These Modena-based melodeath masters explore the psychological and existential void behind real acts of Italian murder and madness in their obscure sophomore opus.

With a career stretching from their early beginnings in 2005 to their present incarnation, Modena-based act Karmian has become one of the most distinctive voices of Italian Melodic Death Metal, known for merging aggression, drama, and conceptual storytelling. Their musical evolution culminates now in 2026 in their most ambitious work to date, their sophomore opus Horror Vacui, following up on their critically acclaimed 2018 debut Surgere et Cadere. Recorded, mixed and mastered by Luca “Cocco” Cocconi and Simone Sighinolfi at Audiocore Studio, and displaying a stunning artwork by Sheila Franco, the newborn spawn by vocalist Andrea Bertolazzi, guitarists Andrea Baraldi and
Michele Perla, bassist Luca Marmi, and drummer Nicholas Badiali explores the psychological and existential void behind real acts of Italian murder and madness, transforming nine true-crime cases into allegorical portraits of emptiness, collapse, and human frailty, being therefore a must-listen for admirers of the music by Kataklysm, Heaven Shall Burn, At The Gates, Dark Tranquillity, and In Flames.

It doesn’t take long for the band to crush our skulls with their violent blend of melodeath in One Thousand Shining Bubbles, featuring guest Nicole Pisani on the talharpa (a traditional, ancient Northern European bowed lyre), with Andrea Baraldi and Michele delivering a striking axe duet for our total delight. Beastmaster of the Void sounds even more infuriated thanks to the ruthless beats and fills by Nicholas while Andrea Bertolazzi growls and roars like a rabid beast; followed by Gott mit Uns nicht, where “Gott mit uns” (“God [is] with us”) is a phrase commonly used in heraldry in Prussia (from 1701) and later by the German military, but their version “God is not with us” exhales pure melodeath led by their caustic riffs and relentless drums. And after a doom-ish intro the band blasts more of their trademark sonority in The Call of the Abyssal Bell, with their guitars walking hand in hand with Andrea Bertolazzi’s guttural.

Black Magical Soap Opera has a very cool name for a metal song, offering more of our beloved Gothenburg sound (but made in Italy, of course), sounding heavy-as-hell and even presenting elements from classic Death Metal; while Temple of the Fleshless Goddess is an excellent option for headbanging like a maniac during their live performances, with Luca and Nicholas generating a metal earthquake armed with their respective bass and drums. Libido et Mors, or “lust and death” from Latin, sees Andrea Baraldi and Michele once again shred their axes in great fashion, resulting in a lesson in modern-day Melodic Death Metal, whereas Beyond the Dream Gate of Fear keeps the album at a high level of aggression without forgetting the band’s trademark harmony. Furthermore, Andrea Bertolazzi sounds inhumane as usual on vocals, bringing an extra dosage of rage to their music. And lastly, Maker of Angels reminds me of Amon Amarth at times, which is obviously great, closing the album with an overdose of evil roars, visceral riffs, and hammering drums.

Whether navigating historical epics or psychological abysses, the work by Karmian is defined by a commitment to exploring the deeper forces that drive human behavior, such as resistance, decline, obsession, and the void within, and Horror Vacui stands as the culmination of this journey, a mature, uncompromising statement of artistic vision, philosophy, and Melodic Death Metal identity. If you want to know more about the band, their music, and obviously their incendiary live concerts, you can find them on Facebook and on Instagram, get caught in a mosh by listening to their high-octane songs on Spotify, and purchase the excellent Horror Vacui from Rockshots Records. Karmian definitely know how to transform the cases of murder, insanity and violence from their homeland into first-class heavy music, and their new opus is there to prove how precise they are in such a unique and devilish art.

Best moments of the album: Beastmaster of the Void, Black Magical Soap Opera and Libido et Mors.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. One Thousand Shining Bubbles 6:38
2. Beastmaster of the Void 3:21
3. Gott mit Uns nicht 4:38
4. The Call of the Abyssal Bell 6:17
5. Black Magical Soap Opera 3:54
6. Temple of the Fleshless Goddess 3:23
7. Libido et mors 3:40
8. Beyond the Dream Gate of Fear 4:16
9. Maker of Angels 4:43

Band members
Andrea Bertolazzi – vocals
Andrea Baraldi – guitars
Michele Perla – guitars
Luca Marmi – bass
Nicholas Badiali – drums

Guest musicians
Nicola Pisani – talharpa on “One Thousand Shining Bubbles”
Luca “Cocco” Cocconi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”
Simone Sighinolfi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”

Album Review – Exodus / Goliath (2026)

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Emerging hungrier than ever from San Francisco, California, these Bay Area Thrash legends welcome back frontman Rob Dukes and unleash upon us ten of their most diverse, anthemic emissions to date.

Emerging hungrier than ever from the thrashing city of San Francisco, California, Bay Area Thrash Metal legends Exodus welcome back the unrelenting frontman Rob Dukes, who had previously recorded with the band the albums Shovel Headed Kill Machine (2005), The Atrocity Exhibition: Exhibit A (2007), Let There Be Blood (2008), and Exhibit B: The Human Condition (2010), to continue their path of devastation 16 years later with the thunderous Goliath, their twelfth studio album and the follow-up to the critically acclaimed Blood In, Blood Out (2014) and Persona Non Grata (2021). Produced by the band itself, recorded by Juan Urteaga, Mark Lewis and Jesse Fioren, mixed and mastered by Mark Lewis, and displaying a classic thrashing artwork by Pär Olofsson, the newborn beast by Rob Dukes on vocals, Gary Holt and Lee Altus on the guitars, Jack Gibson on bass, and Tom Hunting on drums reinforces the band’s eternal foothold at the top of the Thrash Metal hierarchy with ten of their most diverse, anthemic emissions to date.

You know the album will be insanely dark and heavy after listening to the initial riff in 3111 (and don’t forget to check the uncensored version of the official video), with Rob delivering his trademark demented vocals, adding endless rage and violence to its already visceral lyrics (“Plazas of carnage, bloody rewards / Fields of poppies, gifts from the lord / Act with the Devil, piling dead / Ransom slaying, payment in lead”). It’s then time to open up the pit and get your position for a killer wall of death in Hostis Humani Generis, a Latin legal phrase meaning “enemy of mankind,” with Gary and Lee sounding ruthless with their scorching riffage; and featuring the iconic Peter Tägtgren (Hypocrisy, Pain) on guest vocals, Tom dictates the pace with his hammering beats and fills in The Changing Me, offering over six minutes of pure thrashing heaviness. The band then fires sheer electricity in Promise You This, perfect for some action inside the circle pit while Jack pounds his bass nonstop, followed by the title-track Goliath, just as massive as its name, with Rob once again vociferating the song’s devilish words manically (“Enormous entity / Who feeds on doubts and fears / Colossal creature / Lying dormant all these years / His slumber now disturbed / He begins to rise / He’s here to end our suffering / To see us euthanized”) while guest Katie Jacoby and her strings bring a touch of dark beauty to the overall result.

It’s then pedal to the metal in the venomous Thrash Metal onrush entitled Beyond the Event Horizon, with Tom’s rumbling beats and fills walking hand in hand with another demented riff-attack by Gary and Lee, who also fire their usual striking solos for the absolute delectation of us thrashers from all over the world. 2 Minutes Hate is another song perfect for headbanging like a metalmaniac, with Rob barking rabidly while his bandmates deliver a melodic and classic Thrash Metal extravaganza; and it’s impressive how the band can easily incorporate elements of modern heavy music into their old school Thrash Metal just like in Violence Works, with its beautiful title being complemented by the piercing and thunderous stringed attack by Gary, Lee and Jack. Summon of the God Unknown is a cadenced tune by the band offering their scathing sonority and rebellious lyrics and vibe, with its second half blending Thrash Metal with elements of Southern Rock and Metal, and let’s close the album with a massive circle pit fueled by the band’s unstoppable thrashing riffs in The Dirtiest of the Dozen, also presenting Tom’s undisputed, classic drumming and the always visceral roars by Rob until the song’s devastating ending.

In the end, Goliath beams with the explosive authenticity that has set Exodus eons apart from their peers since the release of their 1985 groundbreaking debut Bonded By Blood and, 40 years later, they’re steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition. I honestly don’t believe there’s a single metalhead out there who doesn’t know Exodus, but just in case don’t forget to check what those thrashers are up to on Facebook and on Instagram, to stream their masterful creations on Spotify, and to grab a copy of the colossal Goliath from BandCamp or by clicking HERE. Welcome back, Mr. Rob Dukes, and thank you for inspiring us to slam into the pit like maniacs together with Exodus. You guys are the undisputed Goliaths of Thrash Metal, no questions asked.

Best moments of the album: Hostis Humani Generis, Beyond the Event Horizon, 2 Minutes Hate and The Dirtiest of the Dozen.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. 3111 4:08
2. Hostis Humani Generis 5:21
3. The Changing Me 6:14
4. Promise You This 5:19
5. Goliath 5:04
6. Beyond the Event Horizon 5:16
7. 2 Minutes Hate 4:55
8. Violence Works 4:49
9. Summon of the God Unknown 7:54
10. The Dirtiest of the Dozen 5:09

Band members
Rob Dukes – lead vocals
Gary Holt – guitars
Lee Altus – guitars
Jack Gibson – bass, backing vocals
Tom Hunting – drums

Guest musicians
Peter Tägtgren – vocals on “The Changing Me”
Katie Jacoby – strings on “Goliath”

Album Review – Gaerea / Loss (2026)

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Portugal’s own Post-Black Metal masked collective is back again from the underworld, navigated countless darkened shades of metal to arrive at their stunning fifth album.

The uncanny Gaerea is nothing short of a beautiful enigma rooted in musical extremity and utter passion. In under a decade, the masked Post-Black Metal collective, born in the Portuguese town of Porto, has navigated countless darkened shades of metal to arrive at their fifth album, simply titled Loss, the follow-up to their 2024 critically acclaimed opus Coma. Recorded in early 2025 in Portugal with long-running collaborator Miguel Teroso at Demigod Recordings, Loss finds Gaerea emerging from creative chrysalis and bursting into something as engaging as it is unexpected, offering us all the sound of the masked specters of the band laying their souls bare. Musically and emotionally, they’re opening themselves up and bringing a decade’s worth of musical and personal soul-rending into sharper focus and becoming a genre-of-one in the process, continuing to define and redefine themselves album after album.

The band offers their trademark cryptic, ominous atmosphere right from the start in Luminary before they begin hammering their drums and firing strident riffs for our absolute delectation, whereas Submerged follows a similar style as the music from Coma, with its lyrics exhaling insanity and introspection (“We’re submerged, and can’t break free, / The tide of our story’s got a hold on me, / We’re submerged, and sinking slow, / We’re lost in the deep where the waters flow / The lies I hide… ”). Hellbound is another bestial song with a serene intro that explodes into sheer Post-Black Metal madness, with their scathing vocals and visceral riffs sounding fantastic; and their strident guitars will pierce deep inside your psyche in Uncontrolled, inviting us all to dive manically into a darkened mosh pit. After such a thunderous tune, Phoenix feels like the soundtrack to a psychological thriller, not to mention it’s impressive how they always blend classic Black Metal with more melodic and experimental sounds flawlessly, also presenting a truly epic vibe.

The intro to Cyclone is like a calm before the storm, evolving into a massive creature of Black and Post-Metal led by the grim vociferations by the band’s mysterious frontman. Then after the avantgarde interlude LBRNTH we’re treated to the infuriated yet also delicate Post-Black Metal extravaganza Nomad, showcasing perhaps the most passionate lyrics of the entire album (“I’m a drifter in life, / Forever chasing the fading light. / Every step is out of place, / Can’t seem to find my saving grace. / And I don’t know why I keep running, / Like I’m afraid of what’s becoming. / Every town’s a blur of blame, / No roots, just endless shame.”), followed by Stardust, offering an enfolding mix of clean and harsh vocals which combined sound stunning. It’s one of their most detailed compositions to date, where its blast beats walk hand in hand with the venomous sounds of their guitars until the song’s ethereal, melancholic grand finale.

“We’ve done what we’ve always done, which is follow our instincts,” says Gaerea’s anonymous vocalist. “Yet, something tells me that on this new record, there’s elements that both our new and old fans will love, but it’s not exactly what they’ll expect us to do.” If you want to explore more of Gaerea’s enigmatic world, you can find those masked metallers on Facebook, Instagram and YouTube, stream more of their unique creations on any platform like Spotify, and of course put your darkened hands on Loss by purchasing it from BandCamp or from Century Media Records (or simply by clicking HERE). And if you still think Gaerea can be labeled as anything known to us after Loss (just like what I did in the beginning of this review by calling them Post-Black Metal, by the way), sorry but you’ll have to review your concepts. “We’re not a Black Metal band anymore, if we ever were,” states the vocalist. “We always have been compared to Hardcore bands and Post-Hardcore and Shoegaze and post-this and post-that. We’re slowly finding our way as a band but just as importantly, as people, but the DNA is always there. This is Gaerea!”

Best moments of the album: Submerged, Hellbound, Nomad and Stardust.

Worst moments of the album: LBRNTH.

Released in 2026 Century Media Records

Track listing
1. Luminary 5:10
2. Submerged 5:08
3. Hellbound 5:23
4. Uncontrolled 4:09
5. Phoenix 4:41
6. Cyclone 5:33
7. LBRNTH 2:24
8. Nomad 5:30
9. Stardust 7:58

Band members
*Information not available*