Category Archives: 2026 New Releases

Album Review – Void Monuments / Posthumous Imprecation (2026)

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Behold the debut offering by this ruthless Russian entity, a tour de force of dark, deadly Death Metal of a most 90’s vintage.

Founded in 2020 in Saint Petersburg, Russia, dead in 2022, but reborn in 2024 with a newly sculptured style blasting wicked, old school Death Metal with sinister lyrics, the ruthless entity Void Monuments will decimate your putrid bodies with their debut opus, entitled Posthumous Imprecation. Adorned by a clear and crushing production and a suitably eerie cover artwork, the new album by K. Svart on  vocals and guitar, P. Doom also on the guitar, Ivan on bass, and Bestial Barlog on drums stands tall as a debut declaration, a tour de force of dark, deadly Death Metal of a most 90’s vintage, constructing crushing towers of sound that shoot off into dusty catacombs and primordial slime alike.

Like a demonic creature arising from the pits of the underworld, the album’s Intro will captivate our senses before the band rips our putrid souls in half with Epitome Of Fear, a lecture in Death and Black Metal where Bestial Barlog shows no mercy for our necks with his demonic beats and fills. Then investing in a blood-soaked, vile Doom Metal sonority we face Devilish Prophecies, with K. Svart vomiting the song’s impious words like a rabid beast; followed by Decapitate The Saints, perhaps the song with the most poetic name, a headbanging 90’s-inspired Death Metal attack by the band, with K. Svart and P. Doom showcasing the power of a deadly riff.

Ascent to the Crucifixion is another song with a blasphemous name offering us all an overdose of Blackened Death Metal in the form of six (six six) minutes of pure infernal sounds spearheaded by another gory vocal performance by K. Svart; and Void Monuments go absolutely mental in Invocation, a lesson in Death Metal savagery where Bestial Barlog’s demented drumming is boosted by the metallic, ruthless bass by Ivan and the striking solos by the band’s guitar duo. Their second to last explosion of utter violence is offered in the form of The Sign of Blasphemy, living up to the legacy of 90’s Death Metal, before the band concludes their black mass with Father Of Sin, led by Bestial Barlog’s undisputed hammering drums, putting a beyond demonic ending to the album.

No more but definitely no less, Posthumous Imprecation is undoubtedly a strong release by Death Metal maniacs, for Death Metal maniacs, being highly recommended for admirers of bands the likes of Malevolent Creation, Sinister, The Chasm, Monstrosity, and Cenotaph, among others. You can get in touch with Void Monuments via Instagram, subscribe to their YouTube channel, stream their music on any platform like Spotify, and of course put your damned hands on Posthumous Imprecation from the Blood Harvest’s BandCamp or webstore. Void Monuments are craving fresh blood armed with their newborn spawn, and you better get ready because there’s nowhere to hide from their undisputed Death Metal savagery.

Best moments of the album: Epitome Of Fear, Decapitate The Saints and Invocation.

Worst moments of the album: None.

Released in 2026 Blood Harvest

Track listing
1. Intro 2:14
2. Epitome Of Fear 4:50
3. Devilish Prophecies 5:32
4. Decapitate The Saints 4:50
5. Ascent to the Crucifixion 6:13
6. Invocation 4:58
7. The Sign of Blasphemy 3:30
8. Father Of Sin 4:03

Band members
K. Svart –  vocals, guitar
P. Doom – guitar
Ivan – bass
Bestial Barlog – drums

Album Review – Viserion / Fire and Blood EP (2026)

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Behold the fires of Black Metal and the blood of the Targaryen dynasty united in the form of the new opus by this ruthless American horde.

Hailing from New York City, the ruthless Black Metal horde known as Viserion unites the Second Wave Black Metal tradition with Atmospheric and Death Metal, balancing melodic soundscapes with raw aggression while also exploring a wealth of fantastical literature, highly influenced by the writings of George R.R. Martin and the World of Westeros, through the bloodthirsty shroud of extreme music. Produced, recorded and engineered by Billy Pfister at Westfall Recording, mastered by Jacob Buczarski, mixed by Chris Grigg, and displaying as its stunning cover art the painting Fire in Rome (1785) by Hubert Robert, Fire and Blood, the new EP by Benedetto Marvilli on vocals and guitars, Cris Valentine also on the guitars, Tasso Diakov on bass, and Matthew Marvilli on drums, is a worthy follow-up to their 2021 full-length Natural Selection, offering more of the band’s trademark blend of epic and scorching Black Metal magic. “Our concept for this album was inspired by George R.R. Martin’s Game of Thrones world. It particularly focuses on the Targaryen dynasty hence the title being their house words: Fire and Blood,” commented the band.

It’s pedal to the metal in the infuriated, incandescent title-track Fire and Blood, focusing on the black magic rituals that the Targaryen family was rumored to use in order to control dragons, with Matthew blasting his drums in great Black Metal fashion; whereas Mad King explores the delusions and cruelty of King Aerys II as well as his demise, continuing the band’s path of annihilation with the guitars by Benedetto and Cris exhaling sulfur and hatred. Aegon The Conqueror and his dragon Balerion are the focus on Reign of Fire, a lecture in modern-day Melodic Black Metal without a single second of peace, with Benedetto’s dragon-like vile gnarling sounding absolutely haunting. Then we have Blackfyre, telling of The Blackfyre Rebellions through a dark and rhythmic offering, with Tasso and Matthew bringing the rhythm and groove to the song in another display of the band’s trademark Black Metal magic; and lastly, we face Harrenhal, a composition of despair that sees the lyrics portray the horrifying destruction of Lord Harren’s fortress at the hands of Aegon the Conqueror and his dragon. Furthermore, the EP couldn’t have ended in a stronger way, sounding infernal from start to finish thanks to another killer performance by Matthew on drums.

Renowned bands the likes of Ultar, 1349, Satyricon, and Gates of Ishtar are significantly influential in the construction of Viserion’s creativity, as they delve heavily into the melodic across their discography, with Fire and Blood perfectly depicting those influences, therefore becoming a must-listen for fans of bands such as Ultar, Wormwitch, and the early-era of Enslaved. Viserion are waiting for you on Facebook, Instagram, YouTube and Spotify, and you can grab a copy of their flammable new EP from their own BandCamp. Because, in the end, when you have an album that unites the power of the Targaryen dynasty with our beloved Black Metal, you know you’re in for a treat, one of pure fire and blood.

Best moments of the album: Reign of Fire and Harrenhal.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Fire and Blood 3:09
2. Mad King 3:33
3. Reign of Fire 4:51
4. Blackfyre 5:31
5. Harrenhal 6:33

Band members
Benedetto Marvilli – vocals, guitar
Cris Valentine – guitar
Tasso Diakov – bass
Matthew Marvilli – drums

Album Review – HyperioN / Cybergenesis (2026)

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These Italian Heavy Metal warriors return with their third studio opus, a dark concept album rooted in classic Sci-Fi telling a story of resistance and sacrifice where the human spirit defies impossible odds.

Formed in 2015 by drummer Jason Beghelli and guitarist Davide Cotti to play traditional Heavy Metal, drawing inspiration from bands such as Metal Church, Queensrÿche, and Judas Priest, while adding their own personal touch, Bologna, Italy-based force HyperioN, whose name was taken from the Hyperion Cantos, a series of science fiction novels written by Dan Simmons, returns to the battlefield with a new opus, titled Cybergenesis. Produced, recorded, mixed and mastered by Davide Cotti, with vocals recorded by Antonio Inserillo, and displaying a striking cover artwork hand-painted on canvas by English artist Ryan T. Hancock, renowned for his work with bands such as Seven Sisters, Blood Star, and Stormborn, the follow-up to their 2020 sophomore Into the Maelstrom is a dark concept album rooted in classic Sci-Fi, from Star Trek to Ghost in the Shell, telling a story of resistance and sacrifice where the human spirit defies impossible odds, all carefully brought into being by Max Morelli on vocals, Francis Dipasquale and Davide Cotti on the guitars, Simone “Nega” Cauli on bass, and Francesco Madonna on drums.

The striking guitars by Francis and Davide kick off the band’s metallic journey in Deafening, evolving into a frantic Heavy and Power Metal extravaganza where Max’s vocals couldn’t have sounded more epic. Then investing in a darker, more rhythmic sonority, it’s time for Francesco to shine on drums in Rewire, Rebuild, presenting elements of Progressive Metal to give the song an extra kick, followed by Yet We Still Fight, clearly inspired by the glory of 80’s Heavy Metal, with Max delivering those soaring vocals we all love so much supported by the spot-on riffage by Francis and Davide. And The Shackles of Chronitus is an Epic Power Metal composition with a strong, reverberating kitchen by Simone and Francesco, albeit not as exciting as the rest of the album.

An Iron Maiden-inspired atmospheric and melodic intro evolves into another killer tune entitled Blood Over Chrome, where their riffs and solos bring endless stamina to the already exciting song’s pace; whereas Grain of Sand brings to our avid years metal’s old school galloping rhythm led by Simone and Francesco, providing Max with exactly what he needs to fire his rebellious vocal lines. Rhizome Rider brings forward more of the band’s trademark sound, a pure Heavy Metal feast tailored for admirers of the style perfect for raising their fists together with HyperioN, and closing the album we face the theatrical, ruthless The Whole of Time, with its background keys and sounds elevating its punch considerably, not to mention Francis and Davide are once again on fire armed with their stringed axes.

The concept of Cybergenesis fits seamlessly with the fiery Heavy Metal therein, a daring expedition into a space-time rift that ends in disaster, and all that power, tragedy and rebelliousness couldn’t have sounded better than what HyperioN have to offer us all in their new album. You can get in touch with those talented Italians via Facebook and Instagram, including their breathtaking live performances, stream their music on Spotify or any other streaming platform, and grab a copy of Cybergenesis from BandCamp or from Fighter Records, or click HERE for all things HyperioN. Will the reborn commander Rhizome Rider succeed in leading a rebellion from within and sacrificing himself to free humanity? Simply listen to the thrilling Heavy Metal crafted by HyperioN in Cybergenesis, and you’ll have the answer to that question and more while you bang your head to their undisputed heavy music.

Best moments of the album: Deafening, Yet We Still Fight and Blood Over Chrome.

Worst moments of the album: The Shackles of Chronitus.

Released in 2026 Fighter Records

Track listing
1. Deafening 3:54
2. Rewire, Rebuild 4:46
3. Yet We Still Fight 4:26
4. The Shackles of Chronitus 4:51
5. Blood Over Chrome 5:18
6. Grain of Sand 4:17
7. Rhizome Rider 4:57
8. The Whole of Time 6:48

Band members
Max Morelli – vocals
Francis Dipasquale – guitars
Davide Cotti – guitars
Simone “Nega” Cauli – bass
Francesco Madonna – drums

Album Review – Semper Acerbus / Following Omens (2026)

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Blasting us across deserts, dunes, mountains, and woodlands, the first full-length offering by this blazing hot Texas-based Metalcore outfit goes deep and dark into the pit of our hearts.

Hailing from from the heart of Del Rio, Texas, the blazing hot Metalcore act known as Semper Acerbus (a Latin phrase that translates to “always bitter” or “always harsh”) goes straight for the jugular with their blistering third full-length album, titled Following Omens. Produced, mixed and mastered by Chris Mora (Upon a Burning Body, Kingdom Collapse), and showcasing a classy artwork by Federico Bossinga of Abstract Chaos Design (Dark Funeral, Dimmu Borgir, Old Man’s Child), the follow-up to their 2021 album Ouroboros sees the band formed of vocalist Nelson Acerbus, guitarists Jaime Vargas and Joe Dragich, bassist Sammy Farhat, and drummer Tyler Thomas deliver an explosion of sonic heaviness that thematically covers the whole of the psychological super spectrum, oftentimes all the way to the fringes where the darkness is the deepest and despair is thick as fog on old cobblestone. Lyrically, the band explores all types of toxic relationships leading to destructive aftermaths that teach us the hard lessons, the ones that change us forever.

A very Metalcore intro ignites the opening tune Suffering Awaits, exploding into a well-balanced mix of their core sound and nuances of Death Metal led by the venomous roars by Nelson. After such a demented start the band offers our avid ears Unwanted, with Tyler stealing the spotlight with his progressive, intricate drumming, whereas in One Day At A Time the title carries a deep meaning to all of us, and the band makes sure the music reflects that with its Melodic Death Metal and Metalcore riffs, background keys and anguished screams. And Jaime and Joe rev up the band’s metallic engine with their razor-edged riffs in The Gallows, inspiring us all to bang our heads nonstop to their scathing, electrifying extravaganza.

The second part of the album begins with the cinematic interlude Alluring Vendetta, warming us up for the hard hitting Archangel, where Nelson keeps vociferating rabidly from the bottom of his blackened heart accompanied by another rumbling performance by Sammy and Tyler armed with their respective bass and drums. Wounded sounds a bit generic compared to the other songs, as it doesn’t offer the same level of intricacy nor dynamism; fortunately, Torn Inside gets the band back on track with a striking blend of Progressive Metalcore spearheaded by the demolishing yet very technical drumming by Tyler, not to mention the guitars by Jaime and Joe are breathing fire. And their coup-de-grace comes in the form of District Coward, again presenting a truly menacing kitchen by Sammy and Tyler, as heavy and headbanging as it can be.

Blasting us across deserts, dunes, mountains, and woodlands, Following Omens goes deep and dark into the pit of our hearts while the band entertains themes of isolation, addiction, vendettas, and death, religion and romance, omens and ghosts. Such a must-see name of the current Metalcore scene is waiting for you on Facebook and on Instagram with news, tour dates and other nice-to-know details, and you can also stream their acid creations on YouTube and on Spotify, and purchase your copy of their excellent newborn spawn by clicking HERE or HERE. In the end, the new album by Semper Acerbus is perfect for those who want to rock out, while simultaneously important for those who need to engage in a search of the self. We dig them. We play them loud as all hell, and we’re one of them.

Best moments of the album: Suffering Awaits, The Gallows and District Coward.

Worst moments of the album: Wounded.

Released in 2026 Eclipse Records

Track listing
1. Suffering Awaits 4:11
2. Unwanted 3:22
3. One Day At A Time 4:05
4. The Gallows 3:40
5. Alluring Vendetta 1:00
6. Archangel 3:41
7. Wounded 3:37
8. Torn Inside 3:29
9. District Coward 3:51

Band members
Nelson Acerbus – vocals
Jaime Vargas – guitar
Joe Dragich – guitar
Sammy Farhat – bass
Tyler Thomas – drums

Album Review – Ectovoid / In Unreality’s Coffin (2026)

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From the abyssal and blistering depths of Alabama, this vile creature returns with its third studio album, an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction.

From the abyssal and blistering depths of Alabama and featuring members from Seraphic Entombment and Father Befouled, the destructive Death Metal force known as Ectovoid returns in full force with their third full-length opus, titled In Unreality’s Coffin, the follow-up to their 2015 sophomore Dark Abstraction. Recorded, mixed and engineered by Alex Parra at Second Sight Sound, mastered by Dan Lowndes at Resonance Sound Studio, and showcasing another killer artwork by Italian master Paulo Girardi, the new offering by C.B. on vocals and guitars, C.S. also on the guitars, R.S. on bass, and C.M. on drums is an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction, summoning shadows into eternal decay and entombing listeners in cavernous pummeling riffs.

Those American death dealers begin their infuriated feast of venomous sounds in Dissonance Corporeum, with C.B. already vomiting the song’s devilish words accompanied by the unstoppable beats and fills by C.M., whereas Collapsing Spiritual Nebula sounds even more dynamic and vibrant, with the Crust-infused riffs by C.B. and C.S. transpiring a violent blend of Death Metal. R.S. and C.M. continue to shake the foundations of earth in Intrusive Illusions (Echoes from a Distant Plane), perfect for some insane “dancing” inside the circle pit; and investing in a ruthless 90’s Death Metal sonority we face Formless Seeking Form, with C.B.’s gruesome roars being nicely complemented by C.S.’s grim backing vocals. And if that’s not heavy enough for you, Irradiated Self manages to get even more demented, infernal and visceral than its predecessors, with C.M. once again stealing the show with his deadly beats and fills.

The guitars by C.B. and C.S. keep breathing fire in the title-track In Unreality’s Coffin, inviting us all to bang our fucking heads nonstop in the name of primeval Death Metal, supported by the rumbling bass by R.S.; and the quartet shows no mercy for our putrid souls in Erroneous Birth, melting our faces with their undisputed violence and hatred, with C.B. barking and roaring manically for our total delight. Their second to last explosion of old school Death Metal comes in the form of It Is Without Shape, an instrumental interlude that could have had some vocals to give it an extra taste, flowing into In Anguished Levitation, a lecture in absolute brutality and insanity where their caustic riffs, demonic guttural and demolishing bass and drums turn it into a must-listen for fans of the genre.

Across three full-length albums and various other releases, Ectovoid have fiercely honed their craft, carving out a distinct identity in the broader Death Metal landscape while continuing to pursue higher plateaus of dark Death Metal artistry, with In Unreality’s Coffin flawlessly representing the band’s evolution in the extreme arts, being therefore tailored for admirers of the just as heavy sounds by Autopsy, Necrot, Incantation, and Acephalix, among others. The guys from Ectovoid are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also stream their vicious creations on Spotify, and to put your bloody hands on In Unreality’s Coffin by clicking HERE (BandCamp) or HERE (mailorder). In other words, it’s time to summon total darkness to the sound of the new opus by Ectovoid, feeding you inner demons with their ruthless and primeval blend of Death Metal insanity.

Best moments of the album: Collapsing Spiritual Nebula, Irradiated Self and In Anguished Levitation.

Worst moments of the album: It Is Without Shape.

Released in 2026 Everlasting Spew Records

Track listing
1. Dissonance Corporeum 4:24
2. Collapsing Spiritual Nebula 5:42
3. Intrusive Illusions (Echoes from a Distant Plane) 3:55
4. Formless Seeking Form 6:02
5. Irradiated Self 3:55
6. In Unreality’s Coffin 4:06
7. Erroneous Birth 5:42
8. It Is Without Shape 3:22
9. In Anguished Levitation 7:26

Band members
C.B. – vocals, guitars
C.S. – guitars, backing vocals
R.S. – bass
C.M. – drums

Album Review – Redivider / Sounds Of Malice (2026)

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This up-and-coming Death Metal outfit will destroy our putrid bodies with their debut album, a conceptually rich, sonically punishing record that blends fantasy-driven storytelling with crushing heaviness.

Formed in early 2021 in Louisville, Kentucky by vocalist Jacob Spencer and guitarist Paul Nunavath, the ruthless Death Metal squad known as Redivider is ready to attack armed with their debut album, entitled Sounds Of Malice. Recorded at Round Table Recording Company and Michael Kent O’Bryan Studio, mixed by the band’s own Paul Nunavath, and mastered by Dan Swano at Unisound, the debut opus by the aforementioned Jacob Spencer on vocals and Paul Nunavath on the guitar, alongside Jake Atha also on the guitar, Alexander Farrington on bass, and James Goetz on drums is a conceptually rich, sonically punishing record that blends fantasy-driven storytelling with crushing heaviness, always thriving on tension, rhythm, and unapologetic intensity, or in other words, it’s Death Metal built to be felt as much as heard.

It’s time to slam into the circle pit like a true bastard to the sound of Quartered & Devoured, opening the album on a demented note thanks to the gruesome roars by Jacob and James’ unstoppable beats and fills. Paul and Jake continue to feed Jacob’s roars with their visceral riffage in the title-track Sounds of Malice, resulting in a brutal and intricate display of old school Death Metal; whereas Alexander’s bass couldn’t have sounded more metallic in Shackled to Existence, accompanied by the once again demented drumming by James. Apocalyptic Waste is another bestial song perfect for some wild headbanging, with Jacob vociferating rabidly in the name of Death Metal, followed by Fratricide, a no shenanigans, in-your-face Death Metal extravaganza where Paul and Jake slash their stringed axes ruthlessly. After that, James kicks off the just as heavy and evil Bask in the Rot, an excellent option for their live performances, before we face the bludgeoning Left to Rot, ending the album on a demonic mode to the inhumane growls by Jacob.

In a nutshell, Redivider have crafted a debut that is punishing, articulate, and unflinchingly true to the spirit of Death Metal, a concentrated expression of aggression, narrative depth, and old school brutality fused with modern execution that will surely please the most diehard fans of the style. Those talented and unrelenting American death dealers are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can also enjoy their demented creations on Spotify and of course purchase Sounds Of Malice from BandCamp or by clicking HERE or HERE. Sounds of Malice brings forward the sounds of the glory of 90’s Death Metal, and we can rest assured Redivider will keep destroying our putrid bodies with their undisputed blend of savagery for many years to come.

Best moments of the album: Quartered & Devoured, Apocalyptic Waste and Left to Rot.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Quartered & Devoured 4:04
2. Sounds of Malice 3:10
3. Shackled to Existence 5:21
4. Apocalyptic Waste 4:40
5. Fratricide 4:34
6. Bask in the Rot 3:46
7. Left to Rot 4:01

Band members
Jacob Spencer – vocals
Paul Nunavath – guitar
Jake Atha – guitar
Alexander Farrington – bass
James Goetz – drums

Guest musician
Mike Hargrave – drums (live)

Album Review – Bound To Prevail / Enthroned in Torment (2026)

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A relentless Maltese Death Metal force will attack armed with their debut album, a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge.

Founded in the fall of 2014, and influenced by a wide variety of extreme music subgenres, with each band member bringing their own distinct influences to the songwriting process, Birkirkara, Malta’s relentless Death Metal force Bound To Prevail is unleashing  upon humanity their debut full-length album, aptly titled Enthroned in Torment, following up on their 2017 EP Omen of Iniquity. Recorded, mixed and mastered at SpineSplitter Studio, the new offering by Alan Briffa on vocals, Jean Vella (who’s no longer a member of the band) and Keith Fenech on the guitars, Kevin Mifsud on bass, and Mark Farrugia Sant’Angelo on drums is a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge. Drawing on the technical ferocity of old masters like Suffocation and Monstrosity, as well as the more extreme, yet precise, pummeling approaches of Beheaded, Hour of Penance and Inveracity, the album delivers tracks that are simultaneously tense, technical and fluid, giving every riff room to breathe and strike with maximum impact.

Their sonic massacre begins with the devastating The Nevergod, where Mark sounds demented behind his drums, offering Alan exactly what he needs to bark manically, not to mention the caustic riffage by Jean and Keith. Into the Depths is an absolute chaotic, heavy-as-hell Brutal Death Metal tune led by the inhumane growling by Alan, while Kevin and Mark continue to make the earth tremble in the name of extreme music; and another slab of Kevin’s metallic bass is offered to us all in the Death Metal massacre entitled Defier of Empires, perfect for slamming into the pit. Moreover, it’s impressive how they manage to blend Technical and Brutal Death Metal with great balance and energy, exactly like what we get in Consecrated Perdition, keeping the album at an absurdly high level of violence.

Then the band offers the longest, most detailed of all songs from the album, Atone in Blasphemy, a six-minute overdose of brutality and gore where Mark hammers his drums like a stone crusher, opening up the pit for the visceral riffage by Jean and Keith. It’s pedal to the metal in the frantic, no shenanigans Death Metal attack titled Dawn of Emptiness, again presenting that rudimentary, raw drum sound we all love in this type of music; whereas an ominous start gradually evolves into a bestial sonority in Tomb of the Graveless, with Alan once again vomiting the song’s devilish words like a rabid creature. Lastly, we’re treated to the ruthless title-track Enthroned in Torment, ending the album with the same level of violence as it started for our total delight.

Showcasing their core fusion of aggressive, frantic, pounding rhythmic passages with instantly recognizable melodic overtones, Enthroned in Torment beautifully blends the relentless aggression of classic Death Metal with contemporary clarity and production, creating a sound that honors the past while feeling undeniably current, while also exploring the morbid tension between malevolence and benevolence, set in a chaotic realm shaped by false beliefs and deceitful ambitions. Hence, you can get in touch with those talented and hardworking Maltese metallers via Facebook and Instagram, stream their bludgeoning music on Spotify, and of course purchase Enthroned in Torment from the Lethal Scissor Records’ BandCamp or webstore. With their debut, Bound To Prevail stake their claim in European Death Metal, captivating fans of both old school and modern eras and, therefore, leaving us eager for more of their sonic violence in a not-so-distant future.

Best moments of the album: Into the Depths, Consecrated Perdition and Dawn of Emptiness.

Worst moments of the album: None.

Released in 2026 Lethal Scissor Records

Track listing
1. The Nevergod 5:04
2. Into the Depths 5:06
3. Defier of Empires 5:14
4. Consecrated Perdition 3:47
5. Atone in Blasphemy 6:08
6. Dawn of Emptiness 4:59
7. Tomb of the Graveless 5:28
8. Enthroned in Torment 3:41

Band members
Alan Briffa – vocals
Jean Vella – guitars
Keith Fenech – guitars
Kevin Mifsud – bass
Mark Farrugia Sant’Angelo – drums

Album Review – Deadwood / Rituals of a Dying Light EP (2026)

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It’s time to make Deathcore angry again with the incendiary new EP by these unstoppable Canadian bruisers.

Make Deathcore Angry Again. That’s the ruthless motto by Montreal, Quebec’s own Deathcore bruisers Deadwood, who uniquely blend elements from Death Metal and Hardcore to create their own blend of modern Deathcore. Aiming to evoke terror and fear through their music, ensuring their performances are unforgettable, the band currently formed of Derek Heynekemp on vocals (note: the vocals in the EP were recorded by Martin Demontigny), Stephane Filion and Fred Element on the guitars, and Charles Etienne Lafrance on drums returns with a new EP entitled Rituals of a Dying Light, following up on their vicious 2023 EP Inhuman. Recorded at EMNT Studio, and produced mixed and mastered by the band’s own guitarist Fred Element, the EP caters to enthusiastic metalheads who crave pure brutality and violence, positioning the band as one of the must-see acts of the current scene.

In Tales of Massacre the band blends Deathcore with Technical Death Metal to give the song an even more insane vibe, with Stephane and Fred sounding ruthless armed with their axes, therefore offering Martin all he needs to growl like a rabid beast. Heretic is an even heavier, more dynamic and bestial tune by the quartet, with the deep guttural by Martin matching perfectly with the rumbling drums by Charles, not to mention the song’s background haunting sounds; whereas another demented roar by Martin kicks things off in Thirst for Blood, offering more of the band’s trademark Deathcore violence. Whispers of Death is a song made for being played live, as it will surely ignite some sick, infernal mosh pits to the metallic, thunderous riffs by Stephane and Fred; and the EP ends just like it started, on a vile and demented mode with Echoes of The Fallen thanks to the hammering drums by Charles in a beyond cryptic instrumental tune.

Drawing from the ferocity of Meshuggah, the brutality of Whitechapel, and the groove-driven power of Pantera, Deadwood deliver crushing riffs and haunting atmospheres steeped in true dark histories, from the Salem witch trials to the reign of Jack the Ripper, translating into a no shenanigans, vicious EP that will surely please all fans of extreme music. You can get to know more about Deadwood on Facebook, including their upcoming tour dates across Canada and Europe, stream their wicked music on Spotify, and purchase the excellent Rituals of a Dying Light from BandCamp or by clicking HERE. In other words, it’s time to make Deathcore angry again, and the incendiary new EP by these unstoppable Canadian beasts is exactly what’s needed to achieve such a fun objective.

Best moments of the album: Heretic and Whispers of Death.

Worst moments of the album: None.

Released in 2026 Innerstrength Records

Track listing
1. Tales of Massacre 2:48
2. Heretic 4:23
3. Thirst for Blood 2:54
4. Whispers of Death 4:26
5. Echoes of The Fallen 3:36

Band members
Martin Demontigny – vocals
Stephane Filion – lead guitars
Fred Element – guitars
Charles Etienne Lafrance – drums

Guest musician
Derek Heynekemp – vocals (live)

Album Review – Ellende / Zerfall (2026)

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Austria’s own one-man Atmospheric/Post-Black Metal project is back with its sixth opus, portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself.

Originally conceived as an introverted, misanthropic, and anonymous project by vocalist and multi-instrumentalist L.G. (aka Lukas Gosch) in Graz, Austria back in 2011, the unrelenting Atmospheric/Post-Black Metal entity Ellende, a Middle High German adjective which means “miserable” or “exiled” (as well as “misery” in Dutch), is unleashing upon humanity its sixth full-length offering, titled Zerfall, which translates as “disintegration” or “decay,” portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself, a confrontation with the void and ultimately a triumph over it. Recorded, mixed and mastered by L.G. and Markus “Schwadorf“ Stock at Klangschmiede Studio E, featuring session drummer P.F., with oil painting by L.G. himself (under the moniker Farbbringer), and shaped also by a tragic event in the life of its mastermind, the follow-up to the project’s critically acclaimed 2024 album Todbringerin continues to fuse raw intensity with profound emotional depth, turning it into a must-listen for fans of Harakiri For The Sky, Wolves In The Throne Room, Alcest, Drudkh, Blut aus Nord, Negura Bunget, Paysage d’Hiver, and Woods of Desolation.

Stygian, introspective sounds set the tone in the intro Nur (or “only” from German), growing in intensity until we face Wahrheit Teil I (“truth part I”), starting with the caustic riffs by L.G. in the most visceral Black Metal style, offering seven minutes of first-class extreme music with L.G.’s venomous gnarls bringing even more anguish to the music, flowing into Wahrheit Teil II (“truth part II”), a darker tune exhaling Depressive Black and Doom Metal, with P.F.’s pounding drums hammering our souls mercilessly. Then the title-track Zerfall starts in a serene, melancholic manner before exploding into majestic Atmospheric Black Metal led by our lone wolf’s devilish riffs and vociferations, alternating between absolute darkness and whimsical, enfolding passages; followed by Übertritt (“transition”), another song that reeks of contemporary Melodic and Atmospheric Black Metal where the strident sound of L.G.’s guitar will pierce our blackened minds in great fashion.

Ode ans Licht (“ode to the light”) brings forward an imposing start to L.G.’s scathing riffage, sounding very melodic albeit not as exciting as the rest of the album while still presenting the project’s trademark melancholy. Zeitenwende Teil I (“turning point part I”), featuring Klara Bachmair from German Black Metal horde Firtan on the violin, is a lecture in extreme music, taking the listener on a one-way journey to absolute darkness together with L.G., with his riffs transpiring epicness; whereas in Zeitenwende Teil II (“turning point part II”), the second piece of such a thrilling Black Metal aria, L.G. keeps gnarling in the most obscure way imaginable supported by the classic beats by P.F., ending with a killer guest guitar solo by Peter Mairhofer from Austrian Melodic Death/Thrash Metal band Norikum. And lastly, we’re treated to the atmospheric, gloomy Reise (“journey”), where its acoustic moments bring peace to our gloomy hearts while its climatic ending sounds as captivating as it is devilish and grim.

Ellende has grown into an internationally recognized live act with session musicians firmly rooted in the Atmospheric Black Metal genre, while also incorporating classical instrumentation such as strings and grand piano, often pushing beyond the boundaries of what is considered traditional within the style, and that’s exactly what makes an album like Zerfall so interesting, detailed and hypnotizing. Hence, you can get in touch with L.G. and his Ellende via Facebook and Instagram, stream his vast and innovative discography on Spotify or any other streaming service, and grab a copy of Zerfall from BandCamp, from AOP Records, from Nuclear Blast or from Napalm Records allowing the music by Ellende to penetrate deep inside your blackened heart and, therefore, letting your deepest emotions arise. Because that’s what high quality Atmospheric Black Metal is all about, and we should always thank L.G. and his Ellende for providing us with such an amazing form of extreme music.

Best moments of the album: Zerfall, Zeitenwende Teil I and Zeitenwende Teil II.

Worst moments of the album: Ode ans Licht.

Released in 2026 AOP Records

Track listing
1. Nur 2:35
2. Wahrheit Teil I 7:03
3. Wahrheit Teil II 5:50
4. Zerfall 7:19
5. Übertritt 6:03
6. Ode ans Licht 4:23
7. Zeitenwende Teil I 6:36
8. Zeitenwende Teil II 5:01
9. Reise 7:14

Double LP bonus tracks
10. Secunda (Jeremy Soule cover) 2:03
11. Verborgenes inneres Leiden 2:28

Band members
L.G. – vocals, choirs, whispers, electric & acoustic guitars, bass, piano, synths, samples, ambience

Guest musicians
P.F. – drums (session)
Klara Bachmair – violin on “Zeitenwende Teil I”
Peter Mairhofer – guitar solo on “Zeitenwende Teil II”
S.R. – guitars (live)
G.T. – guitars (live)
S.L. – bass (live)
T.H.Z. – drums (live)