Category Archives: 2026 New Releases

Album Review – Vulgar Mephitis / From Dust (2026)

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Can you smell the foul stench of rotten corpses from the debut full-length opus by this unrelenting American Brutal Death Metal creature?

Following their 2022 three-track self-titled debut EP with a compositionally varied approach that disorients with violent tempo disruption and dissonant riff angularity, Pittsburgh, Pennsylvania-based Brutal Death Metal foursome Vulgar Mephitis is ready to unleash hell once again armed with their first ever full-length opus, titled From Dust. Mixed and mastered by Sasha Borovykh at Tsun Tsun Productions (with drums recorded by Shane Mayer at Cerebral Audio), and displaying a suffocating artwork by Leon Humphrey of Theosis Design, the new album by vocalist Jacob Toy, guitarist Dan Martin, bassist Jay Schweinberg, and drummer Nick Bentzel will pulverize you like a putrid insect without compromising its melody and structure, proving Brutal Death Metal can be gory and visceral, yet extremely technical and dynamic.

The cryptic, atmospheric intro From Dust warms us up for the metallic storm that’s about to come with Martyr, where the quartet shows absolutely no mercy for our putrid bodies and rotten souls, with Jacob roaring and barking like a demented creature craving for flesh, supported by the infernal beats and fills by Nick. If you survive their first strike, get ready for Exterminating Profane, a ruthless blast of Brutal Death Metal yet sounding very technical where Dan and Jay provide us with a nonstop, pulverizing stringed extravaganza, followed by Peer Into The Abyss, simply perfect for some wild slamming into the pit, with Nick once again hammering his drums like a demonic entity while the guitar lines by Dan transpire violence and hatred.

Nick’s drumming sounds even more impressive in the infuriated Scorn Of My Flesh, where their Technical Death Metal vein pulses harder than ever for our total delight, not to mention Jacob’s guttural sounds utterly insane; and Dan’s blazing riffs will pierce our impious minds mercilessly in Gorging Greed, offering more of the band’s trademark Death Metal insanity. After such a demolishing tune we face the title-track To Dust, where the quartet makes sure no one is left alive, pulverized by their demented Death Metal sounds; whereas last but certainly not least, we’re treated to one final explosion of Death Metal madness in the form of Wounds, where Nick takes the lead once again with his intricate yet demolishing beats and fills.

“The main difference in songwriting from the 2022 EP to now would be the addition of myself and Nick Bentzel (drums) stepping into the band, which expanded upon the way songs are structured in general. Previously, the writing process was solely done by Jay Schweinberg (bass) and Jacob Toy (vocals). At the time, the idea was to be a straight up brutal band with linear song structures,” commented guitarist Dan Martin about the songwriting approach this time around. You can find more information about such an up-and-coming extreme band on Facebook and on Instagram, stream their violent creations on Spotify, and purchase their killer new album from their own BandCamp or from the Willowtip Records webstore as a CD or an LP. Having said all that, can you smell the foul stench of rotten corpses from the debut full-length opus by this unrelenting American Brutal Death Metal creature?

Best moments of the album: Martyr, Peer Into The Abyss and To Dust.

Worst moments of the album: None.

Released in 2026 Willowtip Records

Track listing
1. From Dust 1:40
2. Martyr 4:09
3. Exterminating Profane 2:21
4. Peer Into The Abyss 2:48
5. Scorn Of My Flesh 3:10
6. Gorging Greed 3:30
7. To Dust 3:14
8. Wounds 5:20

Band members
Jacob Toy – vocals
Dan Martin – guitars
Jay Schweinberg – bass
Nick Bentzel – drums

Album Review – Terrestrial Hospice / Omnicide – Chapter I (2026)

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Behold the caustic new opus by this uncanny Polish duo, inviting us all to join them in their impure ceremony of absolute Black Metal devastation, causing total havoc and destruction in their wake.

There are nihilists, there are elitists, and there are people threading on others to move forward. Gdańsk, Poland-based Black Metal duo Terrestrial Hospice  doesn’t need any of these labels or methods to move ahead. Formed back in 2018 when Inferno, the unstoppable drummer for blackened masters Behemoth, pitched the idea to the mighty vocalist and multi-instrumentalist Skyggen (from bands like Dead to This World, Tortorum, and Thunderbolt, among others), the duo is unleashing upon humanity their third full-length opus, titled Omnicide – Chapter I, following up on their 2023 album Caviary to the General and their 2024 EP Rübezahl. Recorded at Sound of Records, mixed and mastered at Wielolsad Studio, engineered, mixed and mastered by Haldor Grunberg at Satanic Audio, and displaying a sinister cover art and photo by Bartek Rogalewicz of Lodge Black, the album invites us all to join Skyggen and Inferno in their impure ceremony of absolute Black Metal devastation, with the duo causing total havoc and destruction in their wake.

Phosphoric Salvation starts in an ethereal, pensive way before the duo comes crushing our hopes and dreams with their visceral riffs and blast beats, with Skyggen’s vocals sounding phantasmagorical. And Inferno keeps pounding his drums manically in The Couloir of Despair, offering us all more of the duo’s evil Black Metal magic; while Call of the Void is even more infernal and vile, with Inferno’s blast beats providing Skyggen with exactly what he needs to haunt our damned souls with his demented vociferations, followed by Serpents in the Grass, another solid, otherworldly composition by the duo where Inferno takes the lead with his classy beats and fills as usual.

There’s no time to breathe as their Black Metal machine moves forward in full force to the sound of Menace, presenting an overdose of strident riffs by Skyggen not recommended for the lighthearted; whereas Depraver (Black Invocation) is by far the most incendiary and demented of all songs, if that’s humanly possible, with Inferno crushing our frail bodies with his undisputed Black and Death Metal attack. Drowning Spirit sounds a bit generic compared to the rest of the album, despite the fact that Skyggen’s evil gnarls are still a thing of beauty; and last but certainly not least, they bring forward their blend of Melodic Black Metal in the form of The Gospel of Obedience, as rhythmic as it is obscure, putting a chaotic and vile ending to the album.

Joined live by Norwegian bassist Thurzur, known from Gaahlskagg, Dead to This World, Taake and Deathcult, among others, and by guitarist Namas, Terrestrial Hospice represent heart, emotion, will, power and consistency, and their new album perfectly depicts their hard work and commitment to Black Metal. Hence, you can enter the left-hand path alongside Skyggen and Inferno by following the duo on Facebook and on Instagram, by streaming their caustic music on Spotify, and of course by putting your damned hands on Omnicide – Chapter I from the Edge Circle Productions’ BandCamp or webstore. The “now” of the world needs more individual thinking like what Skyggen and Inferno have to offer in their new album to move forward. We need more Terrestrial Hospice. We need more Black Metal.

Best moments of the album: Phosphoric Salvation, Call of the Void and Depraver (Black Invocation).

Worst moments of the album: Drowning Spirit.

Released in 2026 Edge Circle Productions

Track listing
1. Phosphoric Salvation 6:47
2. The Couloir of Despair 2:34
3. Call of the Void 4:11
4. Serpents in the Grass 4:50
5. Menace 6:45
6. Depraver (Black Invocation) 2:19
7. Drowning Spirit 4:48
8. The Gospel of Obedience 4:25

Band members
Skyggen – vocals, guitars, bass
Inferno – drums

Guest musicians
Magdalena Sienkiel – grand piano interlude on “The Gospel of Obedience”
Soror NMHN – spoken words on “Call of the Void”, “Serpents in the Grass” and “The Gospel of Obedience”
Namas – guitars (live), keyboards on “Phosphoric Salvation”
Thurzur – bass (live)

Album Review – Jasmeno / Assemblage of Cinematic Idioms (2026)

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After nearly four years, Poland’s own Avantgarde Metal act returns with a work that not only expands on its existing language, but also redefines it in an almost sculptural spirit.

After nearly four years, Poland’s own Avantgarde Metal act Jasmeno returns with a work that not only expands on its existing language, but also redefines it in an almost sculptural spirit, titled Assemblage of Cinematic Idioms, offering us all six extensive tracks totaling nearly 50 minutes, creating a cohesive, thoughtful structure. Featuring the band’s mastermind Slavomir Nietupski on orchestrations, synthesizers, grand piano and programming, alongside vocalist Brian Gawaski, guitarist Michal Grall (Sinister, Unblessed Divine), and bassist Artur Olkowicz (Art of Illusion, Mechanism), as well as an array of guest musicians including Bartlomiej Krysiuk (Patriarkh, Batushka), Marc Grewe (Morgoth, Insidious Desease), Snorre Ruch (Thorns, Satyricon), and Yusaf Parvez (DHG, Dødheimsgard), among many others, Assemblage of Cinematic Idioms is a musical assemblage in its purest form – fragmented yet coherent, multi–layered yet subordinated to a single vision without the use of artificial intelligence solutions. Produced by Slavomir Nietupski and Tangled Records, mixed and mastered by Jakub Mankowski at Sounds Great Promotion Studio, and with all graphic design, hand paintings and layout by Slavomir NietupskiIn (in memory of Wladyslaw Hasior), the album is not about being an easily digestible beauty, but about the intensity of experiences and the recurring desire to commune with the Jasmeno universe.

The opening track Synesthesia Imperialis offers a cinematic intro that gradually evolves into a bestial display of the band’s core avantgarde and experimental sounds, with the powerful vocals by Brian walking hand in hand with all riffs, bass lines and imposing orchestrations by Michal, Artur and Slamovir; followed by A Code of Equivocation, another beautiful, bold and captivating creation by the quartet, alternating between heavier moments and pure atmospheric, introspective passages, with their guitars exhaling fire. Then venturing through the realms of Epic and Melodic Death Metal we have His Rebirth, again presenting an imposing ambience that will embrace our souls in darkness; and their riffs and solos will pierce our minds in The Void, while Brian’s vocals are back to their more epic vibe, like the soundtrack to a futuristic thriller, not to mention how charming the piano sounds. The Provocation ov Fate is as intense and vibrant as its predecessors, with the band once again delivering an overdose of Avantgarde Metal magic, Needless to say, it should sound incredible if played live, whereas lastly we face Seduced by Ambiguity, a more introspective, grim creation that concludes the album on a Stygian mode, with all guitars sounding menacing.

Emerging as a complete work both conceptually and in terms of execution, Assemblage of Cinematic Idioms offers a sonic matrix that resembles an assembly line more than a classic album – a space in which each element has its own name, but only when fully assembled does it reveal its full meaning, based on the principles of collaboration and openness. Not only that, the diversity of personalities found in the album gives the entire piece additional depth and a distinctive character among contemporary productions, with each guest bringing their own idiom – a distinct, yet unique language of emotion and sophisticated experiences. Having said all that, you should definitely give Slavomir and his Jasmeno a shout on Facebook and on Instagram, stream their music on YouTube and on Spotify, and of course purchase their striking new album from BandCamp. Assemblage of Cinematic Idioms might not be an easy listen at first, but once the music hits you, get ready for a wild ride together with one of the most interesting bands of the Polish music scene.

Best moments of the album: Synesthesia Imperialis and The Provocation ov Fate.

Worst moments of the album: None.

Released in 2026 Tangled Records

Track listing
1. Synesthesia Imperialis 10:12
2. A Code of Equivocation 8:03
3. His Rebirth 5:19
4. The Void 8:08
5. The Provocation ov Fate 7:55
6. Seduced by Ambiguity 8:15

Band members
Brian Gawaski – vocals
Michal Grall – guitars
Artur Olkowicz – electric & fretless bass
Slavomir Nietupski – orchestrations, synthesizers, grand piano & programming

Guest musicians
Bartlomiej Krysiuk – vocals
Marc Grewe – vocals
Slawomir Slavo Maryniewski – vocals
Snorre Ruch – vocals
Joanna Zondlowska – vocals
Sasha Janowicz – vocals
Yusaf Parvez – vocals, electric guitars
Lecia Louise – electric & acoustic guitars
Piotr Filonowicz – electric guitars
Mariusz Domaradzki – electric guitars
Marek Depa – electric guitars
Tomasz Andrzejewski – electric guitars
Jakub Wagner – flamenco guitars
Lukasz Kowalski – electric guitars
Robert Kolakowski – synthesizers
Ryszard Kramarski – synthesizers

Album Review – Sněť / V bažinách vědomí (2026)

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A demented creature arises from the swamps of consciousness with its pulverizing sophomore album, a must-listen slab of old school Death Metal.

Having annihilated the underground with their 2021 debut Mokvání v okovech and kept things flowing with two splits in the interim, Prague, Czechia’s own Death Metal creature Sněť (which translates to “gangrene” or “mortification” from Czech) returns from the grave with their highly anticipated sophomore album, entitled V bažinách vědomí, or “in the swamps of consciousness.” Recorded by Amák Golden at Golden Hive Studio, mixed and mastered by Greg Wilkinson at Earhammer Studios, and showcasing a sinister artwork by Tomáš Mitura (also known as the band’s own frontman Řád Zdechlin), the new opus by Řád Zdechlin on vocals, Hnisatel and Ransolič on the guitars, Hrdlořez on bass, and Krutörr on drums is a must-listen slab of old school Death Metal, with the band keeping the 90’s hallmarks intact while adding subtle touches that show they’ve found their own identity, therefore delivering a gruesomeness and discomfort that reflects their evolution without sacrificing any of its punishing intensity.

The guitars by Hnisatel and Ransolič already exhale sulfur in Tíha světů, or “the weight of worlds,” evolving into a feast of primeval Death Metal where Krutörr pounds his drums with endless anger and hatred in his heart; whereas a cinematic intro explodes into absolute savagery in Kladivo ve tmě, or “hammer in the dark,” with the cadaverous guttural by Řád Zdechlin sending shivers down our spines. The next track, titled Natur, the Czech word for “nature,” is a fantastic blast of total chaos and violence by such a merciless band, reeking of old school Death Metal savagery, and Hrdlořez’s bass and Krutörr’s drums will make the earth tremble in Ve stínu slunce, or “in the shadow of the sun,” while Řád Zdechlin keeps vociferating like a demonic beast. And Apokalyptický smaragd budoucí doby, which beautifully translates as “apocalyptic emerald of the future,” sounds utterly heavy and primeval while at the same time showcasing an overdose of groove and harmony, with their guitars feeling like knifes cutting our flesh.

Moskyt, which simply means “mosquito,” brings to our avid ears an explosion of Death Metal madness by the quintet, with their riffs and blast beats offering Řád Zdechlin exactly what he needs to vociferate right in our faces, followed by Jako každý, or “like everyone,” inspired by old school Cannibal Corpse, and the final result is amazing, with Krutörr taking the lead with his unstoppable beats and fills. Nekončící koloběh snění a probouzení, or “the endless cycle of dreaming and waking,” once again presents nuances of Doom Metal added to their core Death Metal essence, with the band’s stringed triumvirate bringing forward sheer progressiveness and electricity; while Dřevěný kůl, or “wooden stake,” offers more of their classic take of Death Metal with obscure elements from Doom Metal. And lastly, Znetvořená panna, or “a disfigured virgin,” is as devastating and dynamic as its predecessors, putting a killer ending to the album to the wicked guitar solos by Hnisatel and Ransolič.

Consuming the listener with an eldritch atmosphere while piercing through the fog with pure rancidity, Sněť’s new album boasts a massive production that crushes with total morbidity. There is no pretense to Sněť, they simply play Death Metal the way they want to hear it, and that shines throughout V bažinách vědomí. If you love brutality, grooves, death, and riffs, don’t miss the opportunity to grab a copy of the album from their own BandCamp, from the Me Saco un Ojo Records’ BandCamp or webstore, or from Dark Descent Records, and don’t forget to also give those amazing death metallers a shout on Facebook and on Instagram, and to stream their venomous music on Spotify. As Sněť arise from the swamps of consciousness and attacks us all with their pulverizing sophomore album, you better get ready because no one will be left alive.

Best moments of the album: Kladivo ve tmě, Natur and Jako každý.

Worst moments of the album: None.

Released in 2026 Me Saco un Ojo Records

Track listing
1. Tíha světů 4:48
2. Kladivo ve tmě 3:49
3. Natur 3:01
4. Ve stínu slunce 4:37
5. Apokalyptický smaragd budoucí doby 3:56
6. Moskyt 3:30
7. Jako každý 2:38
8. Nekončící koloběh snění a probouzení 4:00
9. Dřevěný kůl 2:58
10. Znetvořená panna 4:38

Band members
Řád Zdechlin – vocals
Hnisatel – guitars
Ransolič – guitars
Hrdlořez – bass
Krutörr – drums

Album Review – Venomous Echoes / Ŋvęŧş: Violator Of Mater (2026)

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This Avantgarde and Blackened Death Metal beast returns with its fourth studio opus, continuing the exploration of terrifying interior worlds.

Hailing from Kettering, Ohio, Avantgarde/Blackened Death Metal beast Venomous Echoes, the brainchild of vocalist and multi-instrumentalist Ben Vanweelden, returns with Ŋvęŧş: Violator Of Mater, the project’s fourth work of experimental, dissonant extreme music in which he continues the exploration of terrifying interior worlds. Produced, mixed and mastered by Stephen Knapp, who also contributed to the album with additional guitars and drum programming, the follow-up to the scathing 2025 album Dysmor mercilessly (and with immense courage) reveals even deeper and more unspeakable traumas than the fears and anxieties described in the previous albums related to the body dysmorphia that afflicts the band’s mastermind, which have shaped the artist himself into the “creation” at the center of his stories and on the beautiful cover by 0ndes. Musically, Ben does what he does best in his new album, building twisted and schizophrenic songs which oscillate chaotically between ferocious black and death accelerations and doom slowdowns, entrusted to distorted and oppressive sounds. A cathartic nightmare, telling a true story of pain and abuse.

The Stygian, spine-chilling intro Dysmor Opens will drag our putrid souls to Venomous Echoes’ lair in Malcloid, as dissonant and disruptive as it is atmospheric and multi-layered, with Ben roaring manically nonstop while he gets the help of Stephen to deliver truly menacing riffs until the very end. Æhɔɲ starts in a very sinister mode, growing in intensity and madness until all hell breaks loose in a lecture in modern-day Experimental Black and Death Metal; whereas Çịrẹ offers a more direct take on Blackened Death Metal, with its hammering drums and chaotic guitars sounding truly disturbing and, therefore, turning the whole song into a wild and caustic musical journey, sounding grandiose, perturbing, nightmarish and captivating from start to finish.

Then after the phantasmagorical interlude Monolith Of Purity we face another harsh and cryptic tune titled Ẅęrð, where Ben and Stephen deliver an avalanche of scorching riffs for our total delight, keeping the album at a high level of insanity; followed by Mater, the most experimental and atmospheric of all songs, sometimes only sounding like an interlude and lacking an extra kick in the end. L·Lrąç, featuring vocals by Stephen, also kicks off in an atmospheric manner but gradually evolves into another massive Dissonant Black Metal beast, and lastly, the title-track Ŋvęŧş is a lecture in the genre, with Ben melting our faces with his haunting synths, sampling and noises, morphing into a climatic, disruptive and venomous vibe before its ethereal ending.

“In Ŋvęŧş: Violator Of Mater, the creation has been broken down by the wall of Dysmor and has entered the world of Malcloid, the Realm of Despair, where he faces the Pillar of Light and Purity that holds the essence of his own mother,” explained Ben. “This is where he must face his real life abusers that create the beast that is Ŋvęŧş, the violator of the innocent. He was broken to enter the world. Now he must witness the ones he loves become broken and destroyed to progress to the final trial. Each appendage of the beast represents my real life abusers, in a way to cope with the events.” If you’re a fan of bands such as Portal, Altarage, and Thantifaxath, then Ŋvęŧş: Violator Of Mater is a must-listen, which can be done via Spotify or any other platform available, and of course, you can purchase the album from the I, Voidhanger Records’ BandCamp or from Metal Odyssey, and don’t forget to also get in touch with Ben and his Venomous Echoes via Facebook and Instagram. Ben is opening up his heart to us all in Ŋvęŧş: Violator Of Mater, facing his deepest demons with all of his strength, and we metalheads must show him all our support by blasting his music as loud as his traumas are obscure.

Best moments of the album: Æhɔɲ, Çịrẹ and Ŋvęŧş.

Worst moments of the album: Mater.

Released in 2026 I, Voidhanger Records

Track listing
1. Dysmor Opens 0:54
2. Malcloid 6:43
3. Æhɔɲ 5:33
4. Çịrẹ 6:10
5. Monolith Of Purity 1:24
6. Ẅęrð 5:33
7. Mater 6:55
8. L·Lrąç 7:52
9. Ŋvęŧş 11:07

Band members
Ben Vanweelden – vocals, guitars, bass, programming, synths, sampling, noise

Guest musician
Stephen Knapp – guitars, drum programming, vocals on “L·Lrąç”

Album Review – Mad Max / Stories Of Destiny (2026)

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These German Heavy Metal veterans are celebrating 45 years on the road with their sixteenth studio album, reflecting their long history while opening a new chapter in their career.

Founded in Münster, Germany in the distant year of 1981 by guitarist, songwriter and leader Jürgen Breforth, Mad Max have been a constant name in the European Heavy Metal and Hard Rock scene for more than four decades, always showcasing their powerful guitar driven sound, strong melodies and classic Hard Rock attitude. Now in 2026 the band formed of the aforementioned Jürgen Breforth on the guitar alongside vocalist Alan Clark (known to many fans from Dark Heart), guitarist Wilfried Schneider, bassist Thomas Hoffmann, and drummer Uwe Starck is celebrating 45 years on the road with their sixteenth studio album, titled Stories Of Destiny, following up on their 2022 opus Wings of Time. Built around songs that Jürgen had the honor to co-write with respected names from the rock and metal world, including Sascha Gerstner of Helloween, David Readman of Pink Cream 69, Andreas Broon of The Sister of Mercy, and Michael Voss, known from his work with Michael Schenker, the album showcases the unmistakable Mad Max style from start to finish, an absolute delight for all fans of their old school style.

Jürgen and Wilfried ignite their rockin’ machine in Silver, a very melodic tune that will work brilliantly if played live, and then we have the first of the two previously unreleased Mad Max songs from 1991, Weapons Of Love, where Thomas and Uwe make the earth tremble, offering pure 80’s Hard Rock to our metallic hearts. Keep You Alive is a mid-tempo tune that takes some time to take off, although Uwe keeps the rhythm flowing behind his drums, followed by Far Behind, an amazing Hard Rock extravaganza by the band with Alan kicking some serious ass on vocals. The newly recorded version of Piece Of Candy, based on the very first guitar riff Jürgen ever wrote for Mad Max in 1981, is now performed as a duet between Alan and guest Andreas Baesler (their original vocalist, back after 45 years), and it will certainly inspire you to bang your head nonstop at a rock pub.

‘Til The End Of Time, the second unreleased song from 1981, keeps the album at a high level of electricity with its 80’s inspired sonority, with their guitars breathing Hard Rock magic; whereas in Bullet, just like a Rock N’ Roll bullet, the music will penetrate inside your mind with Alan stealing the spotlight with his soaring vocal lines. Mad Gone Blind is another song tailored to be played live, with Jürgen and Wilfried being in absolute sync from start to finish; whereas She Was Mine continues from where the previous song left off, again showcasing the striking combination of Alan’s classic vocals and Uwe’s hammering beats. It’s then time to slow things down and deliver the introspective, emotional ballad Wings Of Freedom, or in other words, simply raise your lighters together with Mad Max; and closing the album we face Dulces Falsos, their first song ever recorded with Spanish lyrics, serving as a tribute to the band’s fans in Latin America, a no shenanigans Heavy Metal and Hard Rock feast for lovers of the golden years of heavy music.

Not only that, the visual world of Stories Of Destiny also connects to the Mad Max comics created by Mexican comic artist Maestro Arturo Said, telling the story of the band from its founding days in 1981 through the 80’s and up to their first shows in Colombia in 2023, making the album both a musical and visual celebration of the band’s legacy. You can get more information about such an important band in the world of heavy music via Facebook and Instagram, stream their music on any platform like Spotify, and purchase Stories Of Destiny by clicking HERE. Reflecting the band’s long history while opening a new chapter in their career, therefore creating a direct link between their earliest days and their present, Stories Of Destiny points to a bright future ahead of them, always loyal to the foundations of our good old Rock N’ Roll.

Best moments of the album: Silver, Far Behind and Bullet.

Worst moments of the album: Keep You Alive.

Released in 2026 ROAR! Rock of Angels Records

Track listing
1. Silver 4:10
2. Weapons Of Love 3:23
3. Keep You Alive 4:02
4. Far Behind 4:37
5. Piece Of Candy 3:22
6. ‘Til The End Of Time 4:29
7. Bullet 4:51
8. Mad Gone Blind 3:48
9. She Was Mine 4:42
10. Wings Of Freedom 4:31
11. Dulces Falsos 3:22

Band members
Alan Clark – vocals
Jürgen Breforth – guitar
Wilfried Schneider – guitar
Thomas Hoffmann – bass
Uwe Starck – drums

Guest musician
Andreas Baesler – vocals on “Piece of Candy” and “Dulces Falsos”

Album Review – Skuggor / The Expanse (2026)

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This one-man project based in Northern Sweden returns with its fourth studio album, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold.

Drawing its essence from the meeting point between the physical and the transcendental, Sweden-based Atmospheric Black Metal entity Skuggor, the Swedish word for “shadows,” is the solo project of Australian-born vocalist and multi-instrumentalist M., known for his work with countless other amazing bands the likes of Aeon Moon, Autumn’s Dawn, Moonlight Drowns, Nihilithic Depths, Rumahoy, Stjärnfält, Tjaktjadálvve, and Wizardthrone, just to name a few. Now in 2026 M. is back in action with the follow-up to his 2025 album Where Sun Resigns, titled The Expanse, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold. Displaying a serene artwork by Heresie Studio, The Expanse is fluid and instinctive, allowing each composition to emerge as a natural extension of atmosphere rather than rigid structure.

Get ready for a whimsical journey through bitterly cold lands to the sound of the eight-minute aria The Expanse, gradually evolving into an Atmospheric Black Metal beast where M.’s anguished roars will send shivers down our spines; followed by The Fire, just as cryptic and visceral as the opening track, where M. brings forward an avalanche of scorching guitar lines in contrast with the gelid background landscapes. Then again showcasing his passion for Black Metal infused with atmospheric and ethereal elements we have The Trance, and it’s easy to sense the despair transpiring from his harsh vocals, not to mention his sluggish beats also sound thunderous. Hem showcases an imposing and epic sonority, with M. once again blasting sheer melancholy through his vocals and whimsical keys, whereas in The Storm the name of the song says it all, as it’s the most violent, harsh and demonic of all songs, with M. delivering those classic Black Metal blast beats we all love so much intertwined with semi-acoustic soothing passages. Lastly, M. concludes his epic voyage with The Nothing, offering more of his blend of doom-laden Atmospheric Black Metal, bursting his lungs screaming until the very end.

“The Expanse is an album dedicated to a place I hold very dear: Northern Sweden. From the desolate forests to the frozen lakes, with this album I tried to capture the combined feeling of beauty and isolated melancholy one can feel in such an area,” commented M., and if you want to know more about Skkugor you can find the project on Instagram, stream its music on any platform such as Spotify, and grab a copy of the album from BandCamp or from Nordvis Produktion. Written to accompany M.’s journey between his home in Moskosel and Arvidsjaur, a woodland stretch largely untouched by modern intrusions in Swedish Lapland, The Expanse takes shape as a series of impressions formed by both the beauty and the unforgiving nature of the environment. While echoes of Burzum, Agalloch, Urfaust, and Drudkh can be sensed throughout, Skuggor reshapes these influences into something distinctly its own, turning it into a must-listen for admirers of the beautiful fusion between extreme music and the peace and solitude found in nature.

Best moments of the album: The Fire and The Storm.

Worst moments of the album: None.

Released in 2026 Nordvis Produktion

Track listing
1. The Expanse 8:20
2. The Fire 5:27
3. The Trance 5:18
4. Hem 5:38
5. The Storm 5:13
6. The Nothing 4:49

Band members
M. – vocals, all instruments

Album Review – Februus / Construction of Conflict (2026)

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The ancient Roman and Etruscan god of purification, cleansing, and the underworld is back with its sophomore album, sounding just as fascinating and eccentric as one would expect it to be.

After releasing an astounding debut in Surveillance Orgy in 2023, Höör, Sweden-based Progressive Death Metal entity Februus (the ancient Roman and Etruscan god of purification, cleansing, and the underworld) returns with a sophomore album that is more mature and consistent, yet just as fascinating and eccentric as one would expect it to be, entitled Construction of Conflict. Mixed by the band’s sole member, vocalist and multi-instrumentalist Andreas Karlsson, mastered by Mattias Persson, and showcasing a wicked, striking artwork by Daniel Karlsson, the album is more compact and effective without losing its expressive power. There are no 15-minute songs on this one. Most of them in fact happen to last for just around five minutes, and Andreas and his Februus make sure that they’re nonetheless packed with plenty of deviations and surprises that are of more varied textures and moods than before.

Andreas kicks off his demented extravaganza with sheer force and insanity in Genocide by Default, offering wicked riffs and blast beats with tons of progressiveness and heaviness, followed by Measures of Escalation, keeping the momentum going with the striking Progressive Death Metal riffs and vociferations by Andreas sounding piercing, demented and vibrant from start to finish. Then an ethereal, enfolding start morphs into sheer madness and experimentations in Suicide by Proxy, with Andreas delivering his trademark scorching riffs nonstop for our total delight; while The First Limb Is Cut carries a poetically harsh title for another blast of Progressive Death Metal by Andreas, with his killer riffs and blast beats punching us hard in the head.

The Misery That Awaits the World is another song with a caustic, powerful title that offers a more introspective side of Andreas, warming us up for Fueled by Narcissism, exploding into absolute chaos, insanity and violence to his demonic guttural and crushing drums, presenting an amalgamation of sounds, tones, breaks and passages not recommended for the lighthearted. Andreas then showcases his own blend of Dissonant and Progressive Death Metal in Scavengers of the Forgotten Poor, firing nonstop scathing riffs while his roars sound absolutely evil; and ending the album we face the multi-layered Suppressing the Future, which kicks off in total violence before morphing into a whimsical sonority, and finally morphing again, this time into sheer doom.

With the release of the dynamic and multi-layered Construction of Conflict, Februus remains as one of the most interesting Swedish Death Metal bands today, always having a trick or three up its sleeves, while maintaining a deceptively rough, clamorous demeanour. In other words, if you’re a fan of the fusion of heavy music and sheer insanity blasted by bands the likes of Edge of Sanity, Pan.Thy.Monium, Demilich, Disharmonic Orchestra, and Defect Designer, just to name a few, you should definitely give Februus a try by streaming its idiosyncratic music on any platform like Spotify, and by purchasing Construction of Conflict from the project’s own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow Februus on Facebook and on Instagram, and who knows, maybe after such an amazing album the project will morph from a studio project into a live beast, taking your city by storm sooner than you can say “Februus.” Construction of Conflict is certainly not an album for the average listener, but a venomous creature ready to penetrate deep inside your skin, consuming your mind and soul, and leaving you in a cathartic state just the way we like it in Progressive Death Metal.

Best moments of the album: Genocide by Default, The First Limb Is Cut and Fueled by Narcissism.

Worst moments of the album: The Misery That Awaits the World.

Released in 2026 Transcending Obscurity Records

Track listing
1. Genocide by Default 5:25
2. Measures of Escalation 5:11
3. Suicide by Proxy 5:45
4. The First Limb Is Cut 5:02
5. The Misery That Awaits the World 2:07
6. Fueled by Narcissism 5:50
7. Scavengers of the Forgotten Poor 5:47
8. Suppressing the Future 5:27

Band members
Andreas Karlsson – vocals, guitars, bass, drum programming, synthesizers

Album Review – Sigh / Goh-ka (2026)

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These Avantgarde Black Metal masters from Japan are back with a breathtaking new album, openly showing the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

A new highlight of atmosphere, technical mastery, and meticulously arranged epics of metallic grandeur, Goh-ka, a title with a triple meaning (業火 infernal fire scorching sinners, 劫火 a huge fire that burns down the world at the end of time, and 業果 karma), is the new opus by the mighty Tokyo, Japan-based Avantgarde/Experimental Black Metal institution Sigh, the follow-up to their 2022 album Shiki. Recorded across multiple studios, once again mixed and mastered by Lasse Lammert at LSD Studios, and displaying a stunning artwork by Maciej Kamuda, the new offering by Mirai Kawashima on vocals, Dr. Mikannibal on vocals and saxophone, Nozomu Wakai on the guitars, and with the support of session musicians Frédéric Leclercq (Kreator) on bass and Mike Heller (Raven, Malignancy) on drums, has as its primary theme the Kuso-zu, a series of Buddhist paintings or illustrations depicting the nine stages of a human body’s decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It openly shows the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

Kuso-shi 1, 2, and 3 is utterly ethereal and cinematic from the very first second, evolving into an experimental beast led by the dual vocal attack by Mirai and Dr. Mikannibal; while the guitar lines by Nozomu will pierce our minds in Jigoku-Zoshi 1: Unkamusho, with the thunderous kitchen crafted by Frédéric and Mike making the earth tremble. Then we face the ritualistic Anzenshokon, morphing into a sluggish beast infused with Doom and Sludge Metal elements, followed by Kuso-shi 4, 5, and 6, another song that sounds like three distinct tunes in one, with its epic last part being boosted by the demonic gnarls by Mirai. And after the cryptic interlude Shoso we’re treated to the infernal and captivating Unputenpu, featuring a guest guitar solo by the one and only Mikael Åkerfeldt of Opeth. The riffs by Nozomu transpire Progressive Rock and Metal, supported by the always solid beats and fills by Mike, not to mention its background keys are beautifully haunting.

Jinmenjushin brings to our avid ears another blast of their trademark blend of Avantgarde and Experimental Black Metal, alternating between more progressive moments and ethereal vocalization passages; and Mike then hammers his drums in the best Black, Thrash and Death Metal style in Jigoku-Zoshi 2: Tokatsujigoku, offering Mirai and Dr. Mikannibal exactly what they need to growl like rabid creatures. Kushukankyo is by far one of the most Japanese culture-infused tracks in the history of heavy music, flowing into the (unnecessary) atmospheric track Kuso-shi 7, setting the stage for the band to kill again with Kuso-shi 8 and 9 / Mettaijakujo, bringing forward 11 minutes of insanity, darkness, fury and progressiveness, feeling almost like the score for a Japanese horror flick, therefore putting a wild ending to the album.

From a musical perspective, if you were to place the main ingredients of Celtic Frost, Voivod, Black Sabbath, horror movies and Japan into a cauldron and stir it, you will get Goh-ka. Numerous additional spices such as Psychedelic and Progressive Rock, as well as classical music, are also evident over the album’s close to one-hour duration, resulting in a must-listen for admirers of the insanity blasted by renowned acts the likes of Arcturus, Dødheimsgard, Imperial Triumphant, Enslaved, Ved Buens Ende, Dir En Grey, and Ningen Isu. Moreover, Sigh are waiting for you on Facebook and on Instagram with news, tour dates and more of their unique music, and you can stream their vast discography on Spotify or Apple Music. Don’t forget to also grab a copy of Goh-ka from the Peaceville Records’ Bandcamp, letting their weird and captivating sounds penetrate deep inside your rotten soul. We’ll all be dead sooner or later anyway.

Best moments of the album: Jigoku-Zoshi 1: Unkamusho, Unputenpu and Kuso-shi 8 and 9 / Mettaijakujo.

Worst moments of the album: Kuso-shi 7.

Released in 2026 Peaceville Records

Track listing
1. Kuso-shi 1, 2, and 3 9:11
2. Jigoku-Zoshi 1: Unkamusho 3:55
3. Anzenshokon 6:24
4. Kuso-shi 4, 5, and 6 7:21
5. Shoso 0:56
6. Unputenpu 5:41
7. Jinmenjushin 6:14
8. Jigoku-Zoshi 2: Tokatsujigoku 3:06
9. Kushukankyo 1:47
10. Kuso-shi 7 1:56
11. Kuso-shi 8 and 9 / Mettaijakujo 11:23

Band members
Mirai Kawashima – vocals
Dr. Mikannibal – vocals, saxophone
Nozomu Wakai – guitars

Guest musicians
Frédéric Leclercq – bass (session)
Mike Heller – drums (session)
Mikael Åkerfeldt – guitar solo on “Unputenpu”

Album Review – Zvindiyar / Six Rites EP (2026)

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Behold the debut EP by this uncanny Bahrain-based Atmospheric Death Metal entity, a concept-driven album drawing inspiration from Persian and Arabic mythology.

Drawing inspiration from Persian and Arabic mythology, Six Rites, the new EP by Manama, Bahrain-based creature Zvindiyar, is a concept-driven album exploring themes of transformation, collapse, and transcendence through a cinematic blend of Atmospheric Death Metal. Recorded by Hani Taqi at Studio 77, mixed and mastered by Ronnie Björnström at Björnström Sound, and showcasing anoither Stygian artwork by Ani Artworks, the debut offering by vocalist and multi-instrumentalist Mohammed AlMeshkhas (although Zvindiyar is in fact an entity and conceptual world rather than a personality-driven band,  with the core creative and founding components also attributed to Meshkhas, PJ, and Ryan) serves as the project’s first complete release, expanding upon the conceptual world introduced by their three singles already released.

Named after a mysterious, legendary female bird from pre-Islamic Arabian mythology, Anqapresents a striking blend of atmospheric and melodic extreme sounds, with all vocals sounding dark and anguished while the guitars exhale heaviness. Then Hex Of The Frenzied Decay offers more of the project’s venomous Black and Death Metal sonority, with the song’s hammering drums matching perfectly with all devilish vociferations by Mohammed; while The Soaring Enigmatic showcases a more Technical Death Metal side of the band, even presenting some Deathcore breakdowns to give it a fresh vibe. Fell is perfect for breaking our necks headbanging to the scorching riffs and beats by Mohammed, followed by the ethereal interlude الهمس الأول (or “The First Whisper”), warming us up for Shadhavar, which pulls directly from medieval Muslim bestiaries and Persian cosmography written by ancient scholars like Al-Qazwini, ending the album on a high note with all vocals and guitars transpiring obscurity and harmony.

Built as a cohesive sonic and visual experience, the debut EP by such an uncanny and mystic entity from the always interesting Bahrain scene will certainly appeal to fans of all types of extreme music who also enjoy a meaningful and unique concept behind the music, and if you want to know more about the whole concept that’s the core of Zvindiyar you can find more information via their official Facebook and Instagram. Don’t forget to also stream their idiosyncratic music on any platform such as Spotify, and of course to purchase a copy of their excellent debut from their own BandCamp (by the way, fans who had purchased the album before its official release already received the full six-track EP and digital booklet early on August 20, ahead of the official worldwide release on September 3). Dark, mysterious and deeply rooted in the band’s multi-layered culture, Six Rites is a must-listen for admirers of the most caustic and somber side of heavy music, paving a phenomenal path ahead of this up-and-coming beast from the Middle-East.

Best moments of the album: Hex Of The Frenzied Decay and Shadhavar.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Anqa 6:11
2. Hex Of The Frenzied Decay 4:28
3. The Soaring Enigmatic 5:31
4. Fell 4:45
5. الهمس الأول  (The First Whisper) 2:15
6. Shadhavar 6:25

Band members
Mohammed AlMeshkhas – vocals, all instruments